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Vocalization is an important communication tool that can reflect many aspects of an individual's internal and external condition. This is especially true for birds. Previous research has shown that bird calls and songs change in response to a variety of potential stressors, although the extent and direction of the changes depend on the nature of the stressor and the environment. Circulating glucocorticoids, such as corticosterone, often increase in response to stressors and mediate some of the observed changes via alterations of the individual's physiological state. Acute elevations of corticosterone often occur as a physiological response to short‐term stressors; however, the effects of this elevation on adult vocalizations have not been well documented. Here, we experimentally elevated corticosterone at two different levels using a noninvasive method and examined the effects on the vocal communication of male and female adult common mynas (Acridotheres tristis). Corticosterone elevation temporarily increased song output and some measures of song complexity, while call output decreased. These effects were dosage dependent (higher corticosterone levels had a stronger effect), most evident 40 min after ingestion, and some vocal changes were sex‐specific. Future studies should investigate whether the changes in vocal performance due to elevated glucocorticoids have consequences for the birds' behavior, reproductive success, and survival. Research Highlights: Corticosterone elevation led to an increase in song output, higher song complexity, but call output decreased. These effects were dosage dependent (higher levels had a stronger effect), and some vocal changes were sex‐specific. Here, we experimentally elevated corticosterone (CORT) at two different levels using a noninvasive method and examined the effects on the vocal communication of adult common mynas (Acridotheres tristis). CORT elevation led to an increase in song output and singing likelihood, and higher song complexity, but call output decreased. [ABSTRACT FROM AUTHOR]

Audio recording is a much anticipated and integral component in the career trajectories of contemporary singers. This article discusses research undertaken through three in-depth case studies, each of which focused on the recording of original songs by early career singer-songwriters. The research examined the ways that recording techniques, associated technologies and studio interactions affect vocal performance during the recording processes. Participants were purposively sampled for their early career interest in songwriting and recording. The findings identified specific educational considerations relevant to those involved in vocal pedagogy, and in artist training and development. The outcomes detail pedagogical parameters and features designed to facilitate agency in the recording of contemporary vocalists. [ABSTRACT FROM AUTHOR]

We can listen to the works of Krzysztof Kamil Baczyński (1921–1944) in many ways. However, hearing the voice of Baczyński himself proves challenging. Launched to mark the centenary of Baczyński’s birth, the digital Radio Baczyński features over 120 songs inspired by his poems. Undoubtedly, Baczyński had neither the opportunity nor the need to record his own voice during his lifetime; he left no memoir, diary, or even loose autobiographical notes that could mediate his voice in the text. The 2013 poetry and biographical film Baczyński directed by Kordian Piwowarski aids in the search for Baczyński’s voice. The film registers the existing methods of embodying this voice while significantly testifying to its eloquent absence. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In addition to the artistic aspect of professional voice performance, the sportive aspect is also important. The voices of professional voice actors, who are considered just like an athlete, should be strong, flexible and durable against long-term use. Also called vocal athletes, voice performers need processes such as muscle and skill development, voice warm up and cool down as in the applications expressed as periodization in sports medicine. Vocal training should aim to prepare the student for the stage not only with its artistic aspect but also with its sportive aspect. In the vocal training process, it is important to raise the awareness of the students from the very beginning of the education and to make the sportive discipline a behavior in the name of sustainable professional vocal use. It is unacceptable for a professional athlete to do some warm-up and cool-down movements with random movements or ignorance. The same is true for seeking vocal exercises for the singer. Exercise programs structured on a physiological basis both give predictable results, and the singer knows what to do and can ensure the performance. The most important components of the conscious training program that creates vocal periodization are vocal warming-up and cooling-down. Contrary to vocal warm-up exercises, studies on vocal cool-down are not sufficient both in the literature and in vocal training. It is an important necessity to apply vocal cool-down exercises in the same routine for the tissue recovery and to return to the speaking tone after the performance and to achieve tissue recovery under appropriate conditions. Vocal cool-down exercises are basically based on stretching and slowing down. In addition to metabolic effects such as blood flow changes, decreasing the muscle tonus, and removal of metabolites from the tissue; physiological effects such as providing a comfortable low larynx position and relaxation are targeted. Vocal cool-down techniques include semi-occluded vocal tract exercises, descending arpeggios, formant maneuvers, yawn&sigh, and chewing approach. In this study, the literature on vocal cool-down exercises has been reviewed, and ideal cool-down conditions and exercises have been presented in parallel with sports physiology. [ABSTRACT FROM AUTHOR]

With the continuous development of the digital era, digital technology is more and more closely combined with various fields, and the integration and development of digital music technology in vocal performance has also received wider attention. This study analyzes the hierarchical relationship of digital music in depth, explores the effect relationship of digital music technology in combination with vocal recording collection, and further studies the interaction effect of intervening digital music technology in vocal performance from the perspective of interaction relationship. In the actual vocal performance, the peaks of the left and right channels of the music signals of the intervening digital music technology were around ±0.30 and 0.10, respectively, and the volume of the left channel was larger than that of the right channel. In all aspects, the effect of vocal performance on music acquisition is better with digital music technology. Meanwhile, the highest ratio of audience silence in the interactive impact of vocal performance intervening digital music technology was reduced by 10% compared with the traditional vocal performance, which proved that the vocal performance based on digital music technology has a better interactive effect and provided a solid and reliable basis for the development of the integration of digital music technology and vocal performance.

Many songbirds sing intensely during the early morning, resulting in a phenomenon known as the dawn chorus. We tested the hypothesis that male Adelaide's warblers (Setophaga adelaidae) warm up their voices during the dawn chorus. If warming up the voice is one of the functions of the dawn chorus, we predicted that vocal performance would increase more rapidly during the dawn chorus compared to the rest of the morning and that high song rates during the dawn chorus period contribute to the increase in vocal performance. The performance metrics recovery time , voiced frequency modulation , and unvoiced frequency modulation were low when birds first began singing, increased rapidly during the dawn chorus, and then leveled off or gradually diminished after dawn. These changes are attributable to increasing performance within song types. Reduction in the duration of the silent gap between notes is the primary driver of improved performance during the dawn chorus. Simulations indicated that singing at a high rate during the dawn chorus period increases performance in two of the three performance measures (recovery time and unvoiced frequency modulation) relative to singing at a low rate during this period. These findings are consistent with the hypothesis that vocal warm-up is one benefit of participation in the dawn chorus. [ABSTRACT FROM AUTHOR]

The understanding of sung vocal performance is usually oriented to the study of anatomical-physiological aspects based on analysis with specific instruments and software. However, the experiential dimension of whoever produces a vocal sound and, above all, the corporeality involved in the construction of such a performance, are usually relegated to the background. In this work, we analyze the performative implications of the laryngeal movement in the deep and intermediate positions from the first-person experience of four developing singers. We consider that laryngeal positions have a corporeal-sonorous correlate of great impact on sung performance, which goes beyond the anatomical-physiological dimension and may be relevant in vocal development and the approach to popular music in the pedagogical field.

The understanding of sung vocal performance is usually oriented to the study of anatomical-physiological aspects based on analysis with specific instruments and software. However, the experiential dimension of whoever produces a vocal sound and, above all, the corporeality involved in the construction of such a performance, are usually relegated to the background. In this work, we analyze the performative implications of the laryngeal movement in the deep and intermediate positions from the first-person experience of four developing singers. We consider that laryngeal positions have a corporeal-sonorous correlate of great impact on sung performance, which goes beyond the anatomical-physiological dimension and may be relevant in vocal development and the approach to popular music in the pedagogical field. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the theoretical foundations, pedagogical principles, and teaching methods of Valentina Antonyuk in the context of the development of the Ukrainian vocal school. The research methodology is based on a complex combination of the historical and cultural method (in the comprehension of cultural and artistic factors in forming V. Antonyuk's pedagogical concept in the context of the development of the national vocal school in Ukraine). The method of aesthetic and stylistic analysis are used in the disclosure of the characteristics of pedagogical principles and priorities in V. Antonyuk's teaching activity. The novelty of the study consists in revealing the modern understanding of the "vocal school" phenomenon, which is connected with the individual creativity of the performer, asserting what is basic for the concept of V. Antonyuk's vocal pedagogy, in the context of creative personalities' professional features. Conclusions. V. Antonyuk's pedagogical attention is focused on the methods of sound production and sound science, singing breathing, the use of vocal apparatus resonators, principles of voice production, articulation and intonation foundations of performance, performing freedom and individual performing vision of an artistic image. Among the pedagogical priorities of training is the desire for a student's personal understanding of a vocal work, its artistic and semantic interpretation and filling the performance of the work with maximum detailing of various expressive means. [ABSTRACT FROM AUTHOR]

The song of male birds is implicated in mate attraction and territory defence and assumed to evolve through sexual selection. Song production is hypothesized to represent a biomechanical challenge under physical, respiratory and neural limitation, leading to trade-offs. Although both sexes sing in numerous species, vocal performance has been little studied in females. European robins, Erithacus rubecula , of both sexes sing in autumn and winter to defend exclusive individual territories. We recorded robins singing spontaneously, that is, when not engaged in overt territorial interactions. We identified a trade-off between two acoustic parameters: (1) the frequency ratio between successive song elements and (2) the duration of gaps between these elements. This trade-off might represent a vocal production limit. To compare vocal performance between the sexes we used two measures: vocal gap deviation (the difference between how the bird sings and the theoretical performance maximum according to the putative vocal production limit we had identified) and sound density (the proportion of the song over which sound is present). Males and females did not differ in these two measures of vocal performance suggesting that the territory defence function of the song is used in social competition with members of either sex. In both sexes, vocal performance was not correlated with morphometric measures and repeatability coefficients were very small. Thus, vocal performance probably does not convey information about the signaller's body size or body condition, at least in spontaneous song of robins. These results inform the debate on selection forces driving female song. • Birdsong is subject to vocal production limits. • Certain birds sing close to such limits and thus reach high vocal performance. • Female birdsong and female vocal performance have been understudied. • Female European robins reach the same level of vocal performance as males in winter. • Female song seems important in territorial defence against male and female robins. [ABSTRACT FROM AUTHOR]

Fostering accurate musical self-perceptions may be particularly challenging when developing singing technique, where self-assessment is complicated by the close physiological and emotional relationship between the performer and the body-instrument. The aim of the present study was to investigate how vocal students' beliefs in their performance capabilities were influenced by the four sources of self-efficacy and other personal/contextual factors. Nine vocalists at a private university in the western United States completed the Vocal Performance Self-Efficacy Survey, participated in two follow-up interviews, and provided written reflections about experiences that fostered or hindered their performance belief. Participants reported that they moved from a reliance on external assessments of capability to self-appraisal as they (a) refined technique through practice and performance, (b) observed coping and master models, (c) managed feedback from others, (d) attuned to physiological and emotional sensations, and (e) exercised cognitive self-regulation. Eight of nine interview participants reported that physiological and affective states most affected their performance belief. Findings indicate the importance of nurturing vocal students' performance beliefs by utilizing the four sources of self-efficacy, fostering qualities of persistence and resilience, teaching agentic causation, fostering productive student/teacher relationships, and creating emotionally safe learning and performance environments. [ABSTRACT FROM AUTHOR]

Abstract In animal communication, signals are expected to evolve to be honest, so that receivers avoid being manipulated by signalers. One way that signals can evolve to be honest is for them to be costly, with only high‐quality individuals being able to bear the costs of signal expression. It has been proposed that parasites can introduce costs that affect the expression of sexually selected traits, and there is evidence to support the role of parasitism in modulating animal behavior. If host infection status or intensity is found to relate to differences in signal expression, it may indicate a fitness cost that mediates honesty of signals. Birdsong is a good model for testing this, and physically challenging songs representing complex motor patterns provide a good example of sexually selected traits indicating individual condition. We performed a field study to evaluate the relationship between song performance and avian malaria infection in a common songbird. Previous work on this subject has almost always evaluated avian malaria in terms of binary infection status; however, parasitemia—infection intensity—is rarely assessed, even though differences in parasite load may have profound physiological consequences. We estimated parasitemia levels by using real‐time PCR. We found that birds with higher parasitemia displayed lower vocal performance, providing evidence that this song trait is an honest signal of parasitic load of haemosporidian parasites. To our knowledge, this study links parasite load and the expression of a sexually selected trait in a way that has not been addressed in the past. Studies using song performance traits and parasitemia offer an important perspective for understanding evolution of characters via sexual selection.

Signals containing parameter trade‐offs are likely to be honest indicators of signaler quality because they are difficult to produce. Signals with a trill‐rate/bandwidth trade‐off have been described for many songbird species, one mouse, and one non‐human primate species. However, there were no reports about whether there is a vocal performance trade‐off in social calls of bats. This study investigated (1) a possible vocal performance trade‐off in territorial calls of male Great Himalayan leaf‐nosed bats, Hipposideros armiger, recorded from 9 locations in south China, and (2) the relationships between vocal performance (vocal deviation and consistency) and caller's quality (body mass) to determine whether vocal performance honestly indicates a caller's quality. Vocal deviation measures the deviation of a call relative to an extreme call and vocal consistency measures the spectral consistency across a string of syllables. Our results showed a significant negative correlation between syllable repetition rate and frequency bandwidth, suggesting a vocal performance trade‐off similar to the one in songbirds. Further, there was a significant negative relationship between body mass and vocal deviation, but no significant correlation between body mass and vocal consistency. This study provides the first empirical evidence for a vocal performance trade‐off of social calls in bats, and the potential for the level of performance to indicate caller quality. [ABSTRACT FROM AUTHOR]

The purpose of the study is to determine the technical and expressive functions of “transitional tones” and “primary tone” in vocal art. The methodology is based on the holistic analysis of the performing, teaching experience of prominent singers, teachers, the author's own experience in synergy with the works of musicologists and scholars, used to study the specific functioning of the “transitional tones” and “primary tones” in the structure of the opera part as an artistic whole; performing analysis, aimed at determining the technical specificity of vocal singing in “transitional tones” and “primary tone”, defined as an embodiment of the specific musical content of the “soaring human spirit” over the “prose of life”; a condition for the study of the subject of research is the historical approach, with the support of which the opera singer has to select the appropriate performance-stylistic perspectives of the opera part for the sake of revealing the “artistic truth” of vocalisation. The scientific novelty of the study is due to the identification of the specifics of the synthesis of the doctrine of “transitional tones” and “primary tone”, formed in the Italian and German schools, which have gained importance as a component of the domestic vocal performance; interpretations of the singer's voice as a tool for revealing the artistic content of the musical work in terms of basing on the principle of interaction of the performing registers. Conclusions. The technical and expressive-content functions of “transitional tones” and “primary tone” in the context of vocal-register performing strategy are determined; the significance of “transitional tones” and “primary tone” as representations of the performing musicology in the process of formation of stylistic erudition and technical mastery of vocalists-performers is determined; the experience of performance technique and expressive emotional value of the “transitional tones” and the “primary tone” acquired by the Odessa school of vocal performance has been revealed. [ABSTRACT FROM AUTHOR]

Copyright of Akademik Sanat is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Comparisons between the communication systems of humans and animals are instrumental in contextualizing speech and language into an evolutionary and biological framework and for illuminating mechanisms of human communication. As a complement to previous work that compares developmental vocal learning and use among humans and songbirds, in this article we highlight phenomena associated with vocal learning subsequent to the development of primary vocalizations (i.e., the primary language (L1) in humans and the primary song (S1) in songbirds). By framing avian "second-song" (S2) learning and use within the human second-language (L2) context, we lay the groundwork for a scientifically-rich dialogue between disciplines. We begin by summarizing basic birdsong research, focusing on how songs are learned and on constraints on learning. We then consider commonalities in vocal learning across humans and birds, in particular the timing and neural mechanisms of learning, variability of input, and variability of outcomes. For S2 and L2 learning outcomes, we address the respective roles of age, entrenchment, and social interactions. We proceed to orient current and future birdsong inquiry around foundational features of human bilingualism: L1 effects on the L2, L1 attrition, and L1<–>L2 switching. Throughout, we highlight characteristics that are shared across species as well as the need for caution in interpreting birdsong research. Thus, from multiple instructive perspectives, our interdisciplinary dialogue sheds light on biological and experiential principles of L2 acquisition that are informed by birdsong research, and leverages well-studied characteristics of bilingualism in order to clarify, contextualize, and further explore S2 learning and use in songbirds. [ABSTRACT FROM AUTHOR]

Birdsong is an important signal used in intra- and intersexual communication in a reproductive context. Strong sexual and natural selective forces act on this behaviour, such that singing individuals can be viewed as vocal athletes whose performance is critical for reproductive success. In this review, I argue and illustrate how a solid understanding of song production mechanisms can enhance our investigations of performance. From a production perspective, temporal and spectral features of song are relatively well understood and therefore are discussed in detail. Performance ranges of temporal and frequency characteristics can be broad, but often involve different production mechanisms, with different constraints and trade-offs underlying their generation. Based on these multifaceted features, I argue that song may be perceived as an 'acoustic gestalt', which for each syllable represents a specific location in a complex multidimensional parameter space characterized by differential contributions of individual features. Derived from this view, I also propose that individual males may be showing specialization for exceptional performance of some, but not all, features of song. To illustrate this possibility for a future research focus, I quantify some song features of seven male European robins, and, although the data set is limited, it shows that different individuals exhibit different performance levels across a number of song features. • Understanding sound production mechanisms can enhance investigation of performance. • Performance ranges of temporal and spectral features vary with production mechanism. • Mechanisms impose different constraints, shifting trade-offs across a feature's range. • Syllables present a complex landscape, appealing to perceptual mechanisms as a whole. • Skills a singing bird requires may lead to strengths and weaknesses in performance. [ABSTRACT FROM AUTHOR]

Oceanic islands share distinctive characteristics thought to underlie a set of parallel evolutionary trends across islands and taxonomic groups – including life‐history traits, morphology and visual signals. To which extent acoustic signals also change in parallel on islands is less clear. Some important processes associated with insularity, such as founder effects and reduced sexual selection, could lead to a decrease in vocal performance and song complexity on islands. In a field‐based study, we recorded 11 insular species and their closest mainland relatives. Out of the 11 species pairs, 6 live in the tropics (São Tomé/Mount Cameroon) and 5 in the temperate region (Madeira/southern France). For each species, we measured two proxies of vocal performance (song duration and syllable rate) and one proxy of song complexity (syllable diversity). This study did not recover a clear relationship between the island environment and song traits. If as expected, syllable rate was lower in island species than in their mainland counterparts, the two other proxies showed no clear island–mainland pattern of divergence. Several factors may explain the absence of reduction for song duration and syllable diversity. Among those, relaxation of interspecific competition on islands may have led to an increase in syllable diversity, or correlations between song variables may have constrained song evolution. More studies on island species are needed to draw a better picture of divergence patterns and go beyond the confounding ecological factors that could explain peculiar song characteristics in islands. [ABSTRACT FROM AUTHOR]

The purpose of the article. The article considers the specifics of modern vocal performance as a combination of classical singing traditions with the laws of variety art. The research methodology determines the methodical work of the leading Western vocal teacher K. Sadolin "Complete vocal technique", which reveals the internal mechanisms of the performance aspect, including vocal techniques and voice effects used in all musical directions of both classical and variety music (jazz, rock and pop directions). The scientific novelty of the study is that for the first time in Ukrainian science the work is considered, which reveals in detail and offers a new methodological and pedagogical approach to the analysis of modern vocal techniques. At the turn of the XX-XXI centuries formed a classic crossover as a result of a combination of classics and a variety of art vocals. Prominent representatives of this trend in the West were Andrea Bocelli, Sarah Brightman, Emma Chaplin, Alessandro Safina, Philippe Giordano, and others. With the advent of sound equipment, the acoustic conditions in the work of singers changed, which required some correction in both the basic staging of the voice and vocal technique. K. Sadolin (Denmark), S. Riggs (USA), N. Drozhzhina and T. Samaya (Ukraine), and others dealt with the problems of modern singing sound formation. Conclusions. Methodical development of the leading lecturer Katherine Sadolin's "Complete vocal technique" explains the key points of the basic staging of the voice, characterizes the new sound formation, and describes all the vocal techniques of academic and variety art vocals. The terminological aspect of the method K. Sadolin improves the professional vocabulary of modern vocal pedagogy. [ABSTRACT FROM AUTHOR]

The honoured artist of the Republic of Azerbaijan, Ilham Nazarov, is a prominent representative of the Azerbaijani school of vocal performance of the 21st century. He went down in the history of the art of vocal performance in Azerbaijan as the first performer with a countertenor sound timbre, wide vocal performance capabilities, and a sound range of 5 octaves. I. Nazarov’s field of activity is wide and diverse. Another direction of his multi-sided professional path is scientific creativity. The musician is the author of various programs, scientific articles, guidelines and manuals. The article also deals with the scientific activity of I. Nazarov and clarifies his features. At the same time, the author explains the importance of scientific works written by the performer for the musical science of Azerbaijan. We would like to note that the scientific work of I. Nazarov is studied in a broad sense for the first time. The purpose of this research is the study of the features of the scientific activity of I. Nazarov, the definition of his method of approach as a researcher, the scope of his scientific works. The research methodology consists of analytical and chronological analysis methods. Here are analyzed and systematized features of scientific creativity of I. Nazarov. The method of analysis as applied in the article is aimed at a thorough study of the musician’s scientific activity. The research analyzes scientific works authored by I. Nazarov and establishes a connection with his teaching activities. The scientific novelty of the research lies in the fact that here the scientific work of I. Nazarov is examined for the first time, as well as the importance of his method of approach as a researcher, the range of subjects of his works, research directions, innovations made into a music science of Azerbaijan, and the relevance of such research are identified. At the same time, the article deals with the research conducted in connection with the features of the countertenor sound timbre of I. Nazarov, as well as his research work considering the USSR People’s artist, prominent figure Muslim Magomayev. Conclusions. Based on the study of the features of the scientific activity of Ilham Nazarov, the following conclusions may be made. In the creative works of I. Nazarov, the research papers are of great importance. Despite the fact that the musician has been engaged in scientific activities since 2015, he is also the author of numerous scientific articles, guidelines, training programs, manuals, etc. The scope of the researcher’s topics is wide and diverse. We would like to note that some of the topics studied by I. Nazarov have been studied in the field of music science in Azerbaijan for the first time. From this point of view, these research papers are of great importance. Here we can note the study of the features of the countertenor sound timbre and the study of the work of the USSR People’s artist, Muslim Magomayev. The artist studied the features of the voice in a broad and comprehensive manner as a performer with a countertenor sound timbre. Let’s note that the first scientific article authored by I. Nazarov is related to the countertenor sound timbre. In this regard, the musician has developed training manuals, guidelines and programs. In a book called “The Technique of Countertenor Performance”, the researcher describes the features of countertenor sound and scientifically proves the authenticity of such a sound. The main characteristic feature of the scientific activity of I. Nazarov is applying modern methods. For example, in the dissertation paper related to the study of M. Magomayev’s creative work, I. Nazarov describes the performance characteristics through the physical parameters and computer programs on the example of cavatina of Figaro performed by the famous singer. This method was first applied in the musical science of Azerbaijan and it is an important step in studying the features of vocal performance.

The article analyzes the role of plastic expression of an artistic image in vocal performance. The author focuses on the problem of the relationship between the aesthetic implementation of plastic techniques and the deep emotional experience of the image of the singer- actor. Based on the works of I. M. Sechenov, the possibility of forming the aesthetics of a plastic image is justified not only in the reflex manifestations of the emotional residence of the image, but also in the conscious application of the necessary technology for the expression of its emotional component by plastic means. Positive and negative examples of plastic connection of the body, head, hands, and eyes of the singer in the singing process that help to achieve the necessary aesthetic result are given. The author’s approach to the consideration of means of plastic embodiment of an artistic image in vocal performance presented in the article can become a guide for teachers of the class of solo singing in the work on preparing students to achieve organic unity of musical and plastic components in the process of updating the artistic content.

The article identifies the main problems to be solved by an academic vocal teacher in determining the content and choosing forms and methods in distance learning conditions with students at art schools and children’s music schools. In this perspective, the following are considered: the specifics of performing and teaching activities in academic vocal class; the processes of developing conditional-reflective connections and muscle-auditory stereotypes; the specifics of a singer’s auditory sensations in the process of singing intonation; the importance of ear for singing, visual and emotional contact between students and a teacher for the efficiency of classes; and the main components of monitoring singing activities. The author deals with the professional risks associated with the use of electronic devices in the educational process in the solo singing class. On the basis of the analysis of own long-term practical activity to vocal training in children’s schools of arts and children’s musical schools, the author gives recommendations on the definition of directions and a choice of effective methods of work in the conditions of the distance form of the lessons available to the given contingent of students. Theoretical statements that became methodological guidelines in the development of the author’s program of the training course “Solo (academic) singing (distance learning) are provided”.

Oceanic islands share distinctive characteristics thought to underlie a set of parallel evolutionary trends across islands and taxonomic groups – including life‐history traits, morphology and visual signals. To which extent acoustic signals also change in parallel on islands is less clear. Some important processes associated with insularity, such as founder effects and reduced sexual selection, could lead to a decrease in vocal performance and song complexity on islands. In a field‐based study, we recorded 11 insular species and their closest mainland relatives. Out of the 11 species pairs, 6 live in the tropics (São Tomé/Mount Cameroon) and 5 in the temperate region (Madeira/southern France). For each species, we measured two proxies of vocal performance (song duration and syllable rate) and one proxy of song complexity (syllable diversity). This study did not recover a clear relationship between the island environment and song traits. If as expected, syllable rate was lower in island species than in their mainland counterparts, the two other proxies showed no clear island–mainland pattern of divergence. Several factors may explain the absence of reduction for song duration and syllable diversity. Among those, relaxation of interspecific competition on islands may have led to an increase in syllable diversity, or correlations between song variables may have constrained song evolution. More studies on island species are needed to draw a better picture of divergence patterns and go beyond the confounding ecological factors that could explain peculiar song characteristics in islands.

In animal communication, signals are expected to evolve to be honest, so that receivers avoid being manipulated by signalers. One way that signals can evolve to be honest is for them to be costly, with only high‐quality individuals being able to bear the costs of signal expression. It has been proposed that parasites can introduce costs that affect the expression of sexually selected traits, and there is evidence to support the role of parasitism in modulating animal behavior. If host infection status or intensity is found to relate to differences in signal expression, it may indicate a fitness cost that mediates honesty of signals. Birdsong is a good model for testing this, and physically challenging songs representing complex motor patterns provide a good example of sexually selected traits indicating individual condition. We performed a field study to evaluate the relationship between song performance and avian malaria infection in a common songbird. Previous work on this subject has almost always evaluated avian malaria in terms of binary infection status; however, parasitemia—infection intensity—is rarely assessed, even though differences in parasite load may have profound physiological consequences. We estimated parasitemia levels by using real‐time PCR. We found that birds with higher parasitemia displayed lower vocal performance, providing evidence that this song trait is an honest signal of parasitic load of haemosporidian parasites. To our knowledge, this study links parasite load and the expression of a sexually selected trait in a way that has not been addressed in the past. Studies using song performance traits and parasitemia offer an important perspective for understanding evolution of characters via sexual selection. [ABSTRACT FROM AUTHOR]

This paper integrates wavelet sound wave analysis with a fuzzy control method to develop a stage phobia analysis system for vocal performers in order to enhance the psychological efficiency of vocal performers and reduce the effect of stage phobia on vocal performance. To achieve howling signal filtering, the frequency sub-band with howling is reversed and then superimposed with the original signal in audio processing. Furthermore, this paper incorporates the actual requirements for processing the vocal audio spectrum and builds the corresponding practical modules. Furthermore, this paper integrates the research needs of vocal performers' stage phobia to create system function modules, and investigates the psychological activities of vocal performers using the fuzzy control system, discovers the factors that influence stage performances, and improves the psychological output of vocal performers. Finally, this paper proposes experiments to test and evaluate the system's results. The research findings indicate that the system described in this paper has a significant impact. [ABSTRACT FROM AUTHOR]

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Anthropogenic noise constrains the transmission of birdsong and alters the behavior of receivers. Many birds adjust their acoustic signals to minimize the interference of anthropogenic noise on signal transmission. Birds may also change their acoustic signals to exchange information during aggressive interactions. However, it is unclear how birds deal with a potential trade‐off between adjusting their acoustic signals to better transmit in noisy environments versus mediating aggressive interactions. Additionally, we do not know how urbanization and anthropogenic noise alters the territorial behavior of receivers. We investigated the interplay among song, territorial aggression, urbanization, and anthropogenic noise, in males of the southern house wren Troglodytes aedon musculus, using recordings of spontaneous songs (non‐aggressive context) and a playback experiment simulating a male territorial intrusion (aggressive context). We found that urban wrens behaved more aggressively in response to the intruder by singing more and spent more time closer to the intruder than rural wrens regardless of noise. Males produced songs with lower minimum frequency and trills with wider frequency bandwidth and higher vocal performance under acute (playback) than relaxed (post‐playback) aggressive encounters. These results suggest that males use songs to communicate aggressive intent or fighting ability. Urban wrens produced higher‐pitched songs and trills than rural wrens irrespective of aggressive context. Urban wrens in the noisiest territories also produced the highest‐pitched trills but only in the non‐aggressive context. Rural wrens in the noisiest territories tended to produce the longest songs (non‐aggressive context) or produced the shortest songs (aggressive context). Results suggest that urbanization affects territorial and vocal behaviors in southern house wrens. Males in this species seem to primarily adjust acoustic signals in response to the territorial intruder rather than noise. [ABSTRACT FROM AUTHOR]

This paper aims at investigating whether intentional efforts of voice actors to adopt different levels of naturalness when dubbing scenes portraying different emotions could be detected by the target audience. Eight scenes representative of anger (4) and sadness (4) were used in this study and two dubbed versions into Spanish ('natural' and play-acted) were recorded for each one of them. Firstly, an acoustic analysis was carried out to detect potential distinctive vocal patterns of natural vs. play-acted dubbed voices. Later, we carried out a reception study to find out whether viewers perceived any differences between the two versions. Although the automatic voice analysis did not account for significant differences, some differentiating traits in play-acted versions (vocal fry, elongation of sounds, breathy voice) were observed. Natural versions were perceived as more natural than play-acted versions, with higher scores in the anger scenes. Finally, while participants generally preferred the natural over the play-acted style, a relevant percentage of participants expressed a preference for the play-acted versions of sad clips. [ABSTRACT FROM AUTHOR]

The article deals with the problem of future vocal teachers training in performance activity. The author has focused on the psychological readiness for public performance, which is subjectively perceived as a stressful situation requiring psychological, emotional strain, maximum concentration of attention and volitional effort. A significant role of the psychological state for the singer caused by his/her reflection on the phonation-singing aspects; the degree of emotional brightness, artistic perfection in the creation of musical images has been specified. The author has analysed the works of musical psychologists and representatives of theatrical and musical arts in relation to the factors of the performers’ unsatisfactory psychological state. Some features of productive and creative as well as excessive unproductive unrest alongside with its causes have been described. Three groups of determinants of the future professional’s personal psychological state have been considered: functional; motivational-characterological and operational. A special attention was paid to the types of the future vocal coaches’ performance activity such as performances in the form of academic reporting, contests, concerts and other educational events, pedagogical-illustrative methods as well as students’ entertainment. The participation in these activities is significantly different in the extent of responsibility for the performance quality and its possible consequences. It has been pointed out how significant it is to choose the repertoire for the performance in accordance with vocalist’s real abilities, to hold auto trainings, to create «situations of success», role play and vocal-improvisation games in order to improve students’ performing-psychological state.

Камерно-вокальное творчество XX столетия выдвинуло перед певцами ряд новых задач, решение которых было сравнительно затруднено усложнением композиторского музыкального языка, общей тенденцией к интеллектуализации художественного пространства и отсутствием ясных в практике современного исполнительства стилевых ориентиров. Одним из известнейших образцов такой интеллектуальности в жанре является сюита для голоса и фортепиано Дмитрия Шостаковича «Шесть стихотворений Марины Цветаевой». Циклическая структура сюиты делает возможным исполнение данного опуса только на самых поздних этапах обучения вокальному мастерству, а также представляет собой определенный профессиональный вызов для уже сформировавшихся певцов. Несмотря на то, что камерно-вокальное творчество Шостаковича уже неоднократно освещалось в различных монографиях и диссертационных исследованиях, практические рекомендации и акценты на тех или иных моментах исполнения, предложенные в статье, по-прежнему остаются актуальными. Особое внимание уделяется специфическим вокальным задачам третьего романса сюиты «Диалог Гамлета с совестью», который является высоко оригинальным образцом претворения процессуальное™ в музыке. Наиболее яркой характеристикой данного номера представляется сужение объема звучащего материала до монодии, реализованной между партиями солиста и аккомпанемента.

The problems of singing in the original language have become a special feature of the soloist training in the Central and Eastern Europe. The linguistic aspects of soloist training is put to the test by international expectation that regards authentic singing in the original language as a natural part of professional efficiency. In this present paper we are looking for the answers to two questions. First, we examined what factors determine the choice of the language for vocal interpretation. Our second goal is to give an overview of a specific segment of today’s Hungarian students’ population in higher education. We examined institutional, personal and curricular components for perfecting singing in the original language. The empirical study field of our research was Hungary’s higher education institutions of music in the 2016/17 term. Our researches were based on two methodological techniques. Among the higher education instructors of solo singers we conducted structured interviews and students from six higher educational institutions with this profile were the respondents of our questionnaire. The quantitative analysis of the research unequivocally represented the stronger demand of students for the training of linguistic interpretation. Our empirical research showed that the language efficiency of the solo singer students does not meet professional expectations. Pronunciation, comprehension, vocabulary, command of language and intonation are not utilized while singing and using the mirror effect of singing in a foreign language does not help perfect language knowledge either.

Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre.Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation. [ABSTRACT FROM AUTHOR]

Over the years, a growing number of researchers have been developing models that would automatically generate assessments of music performances. Yet the number and usage of automatic singing evaluation systems is still rather rudimentary, addressing, for the most part, a limited amount of performance features and lacking verification. This study reports on a newly designed automatic singing assessment tool based on a score-based model and its validation. Short music segments (N = 2640) were gathered via recordings made by music education students (N = 55) of a specially inscribed vocal music excerpt. Recorded data evaluation was generated by a specially devised automatic tool as well as by three human experts, addressing pitch intonation (examined for its overall display, single note accuracy and interval manifestation), dynamics transmission and vocal resonation quality. Findings indicated a higher rating given by the experts in regard to pitch intonation and vocal resonation. However, a similitude was found for the dynamics transmission scoring, and a correlation was found for pitch intonation and the dynamics transmission scoring level: in both performance parameters, the higher the experts' gradings were, the higher the gradings provided by the automatic tool. Results attest to the automatic tools' qualification as an aid for human judgement of singing proficiency. The tool could assist investigations in various musical domains, such as music pedagogy, music performance or music perception research. [ABSTRACT FROM AUTHOR]

The purpose of this study was to verify a possible relationship between vocal performance and mathematical skills. The study has polled 60 vocal students and 6 voice teachers, analysed educational records, and conducted an independent singing examination. Using the Student's t-test, it was found that vocal performance estimates carried among student with different levels of mathematical competency indicated a connection between vocal performance and mathematical abilities. The results revealed that vocal students with relatively well-developed mathematical skills outperformed those with poor mathematical abilities by around 33 percentage points. [ABSTRACT FROM AUTHOR]

The problems of singing in the original language have become a special feature of the soloist training in the Central and Eastern Europe. The linguistic aspects of soloist training is put to the test by international expectation that regards authentic singing in the original language as a natural part of professional efficiency. In this present paper we are looking for the answers to two questions. First, we examined what factors determine the choice of the language for vocal interpretation. Our second goal is to give an overview of a specific segment of today's Hungarian students' population in higher education. We examined institutional, personal and curricular components for perfecting singing in the original language. The empirical study field of our research was Hungary's higher education institutions of music in the 2016/17 term. Our researches were based on two methodological techniques. Among the higher education instructors of solo singers we conducted structured interviews and students from six higher educational institutions with this profile were the respondents of our questionnaire. The quantitative analysis of the research unequivocally represented the stronger demand of students for the training of linguistic interpretation. Our empirical research showed that the language efficiency of the solo singer students does not meet professional expectations. Pronunciation, comprehension, vocabulary, command of language and intonation are not utilized while singing and using the mirror effect of singing in a foreign language does not help perfect language knowledge either. [ABSTRACT FROM AUTHOR]

Vocalisations play a key role in the communication behaviour of many vertebrates. Vocal production requires extremely precise motor control, which is executed by superfast vocal muscles that can operate at cycle frequencies over 100 Hz and up to 250 Hz. The mechanical performance of these muscles has been quantified with isometric performance and the workloop technique, but owing to methodological limitations we lack a key muscle property characterising muscle performance, the force-velocity relationship. Here, we quantified the force-velocity relationship in zebra finch superfast syringeal muscles using the isovelocity technique and tested whether the maximal shortening velocity is different between males and females. We show that syringeal muscles exhibit high maximal shortening velocities of 25L0 s-1 at 30°C. Using Q10-based extrapolation, we estimate they can reach 37-42L0 s-1 on average at body temperature, exceeding other vocal and non-avian skeletal muscles. The increased speed does not adequately compensate for reduced force, which results in low power output. This further highlights the importance of high-frequency operation in these muscles. Furthermore, we show that isometric properties positively correlate with maximal shortening velocities. Although male and female muscles differ in isometric force development rates, maximal shortening velocity is not sex dependent. We also show that cyclical methods to measure force-length properties used in laryngeal studies give the same result as conventional stepwise methodologies, suggesting either approach is appropriate. We argue that vocal behaviour may be affected by the high thermal dependence of superfast vocal muscle performance., Competing Interests: Competing interests The authors declare no competing or financial interests., (© 2024. Published by The Company of Biologists Ltd.)

Human activity around the globe is a growing source of selection pressure on animal behavior and communication systems. Some animals can modify their vocalizations to avoid masking from anthropogenic noise. However, such modifications can also affect the salience of these vocalizations in functional contexts such as competition and mate choice. Such is the case in the well-studied Nuttall's white-crowned sparrow (Zonotrichia leucophrys nuttalli), which lives year-round in both urban San Francisco and nearby rural Point Reyes. A performance feature of this species' song is salient in territorial defense, such that higher performance songs elicit stronger responses in simulated territorial intrusions; but songs with lower performance values transmit better in anthropogenic noise. A key question then is whether vocal performance signals male quality and ability to obtain high quality territories in urban populations. We predicted white-crowned sparrows with higher vocal performance will be in better condition and will tend to hold territories with lower noise levels and more species-preferred landscape features. Because white-crowned sparrows are adapted to coastal scrub habitats, we expect high quality territories to contain lower and less dense canopies, less drought, more greenness, and more flat open ground for foraging. To test our predictions, we recorded songs and measured vocal performance and body condition (scaled mass index and fat score) for a set of urban and rural birds (N = 93), as well as ambient noise levels on their territories. Remote sensing metrics measured landscape features of territories, such as drought stress (NDWI), greenness (NDVI), mean canopy height, maximum height, leaf area density (understory and canopy), slope, and percent bare ground for a 50 m radius on each male territory. We did not find a correlation between body condition and performance but did find a relationship between noise levels and performance. Further, high performers held territories with lower canopies and less dense vegetation, which are species-preferred landscape features. These findings link together fundamental aspects of sexual selection in that habitat quality and the quality of sexually selected signals appear to be associated: males that have the highest performing songs are defending territories of the highest quality.

Vocal performance – an animal's ability to produce physically challenging vocalizations – can reflect a signaller's overall condition and can be a reliable signal of quality. It has been suggested recently that songbirds improve vocal performance through recent practice during intense dawn singing. We tested whether recent practice improves vocal performance in swamp sparrows, Melospiza georgiana , a species for which the biomechanical constraints and biological implications of vocal performance are well established. We measured vocal deviation – a measure of performance – in 1527 songs recorded from 11 captive swamp sparrows, four of which were developmentally stressed as juveniles. Vocal performance improved across the morning as a function of both the cumulative number of songs previously performed and the time of day. Song types with introductory syllables showed greater improvement than more typical song types composed solely of trilled syllables, and across all song types, as song output increased, the average improvement in vocal performance also increased. However, males with high song output exhibited greater variability in vocal performance, suggesting that some individuals might experience fatigue in song production. Furthermore, birds that had been developmentally stressed as juveniles showed greater improvement over the morning than birds that were not stressed. If conspecifics attend to within-individual variation in vocal performance, then improvement in vocal performance over the course of a day may drive birds to sing early and often, although fatigue may limit the extent to which this advantage may be gained. • We tested whether vocal performance improves across the morning. • We extensively recorded 11 laboratory-reared, song-tutored swamp sparrows. • Vocal performance improved with time and the total number of songs performed. • Developmentally stressed birds showed greater improvements. [ABSTRACT FROM AUTHOR]

Previous research suggests that musicians modulate a predictable set of acoustic cues to convey distinct emotions. The current study focuses on singers, testing the validity of cues previously reported for a wide range of instruments. The study also asks: What effect might a musician's mindfulness have on their expressive performance? Two groups of highly skilled vocalists recorded performances of a novel melody with four distinct emotions. Prior to the performance task, an experimental group took part in a guided mindfulness induction, while a control group engaged in a self-selected relaxation activity; state mindfulness was assessed immediately after. Recordings were analyzed for tempo, temporal variation, intensity, mean centroid, vibrato rate, vibrato extent, and attack slope; individual notes with particular scale-degree functions were also compared. Results show that the two groups of participants had similar cue usage, although those in the experimental condition had higher mindfulness scores and attributed improvements in focus and awareness to the induction task. Participants as a whole used cues in the predicted directions, and significant differences were found on all acoustical measures, except vibrato rate, as a function of expressed emotion. Results also indicate that participants modified intonation to distinguish between positive and negative emotions. [ABSTRACT FROM AUTHOR]