The Activity Patterns of Neck Muscles in Professional Classical Singing

The study aimed to characterize the activity patterns of neck muscles during classical singing. Muscle usage during inhalation and phonation and the relationship to changes in pitch and vocal loudness was of particular interest. Five professional opera singers (2 males, 3 females) participated. Surface electromyographic activity (EMG) was recorded from the upper trapezius (TR), the sternocleidomastoideus (STM), and the scalenus (SC) muscles and the muscles in the posterior neck region (PN). EMG activity in TR and STM was lowered by EMG biofeedback (BF), and the possible effect of lowered EMG activity in these muscles on the EMG activity of SC and PN was analyzed. A strain gauge sensor recorded the chest circumference of the thorax. Three singing tasks were performed. Each task was performed three times with variation in vocal loudness and pitch. After the first performance of the singing tasks, the BF session was carried out. Thereafter muscle activity was recorded in repeat performances of the same tasks, and the EMG amplitude of all muscles was compared before and after BF. We conclude that STM and SC showed correlated activity patterns during inhalation and phonation by classical singers. Second, substantial muscle activity was observed in PN during inhalation and phonation. BF performed on TR and STM had a secondary effect of lowering EMG activity in SC and PN. The activity of all neck muscles was markedly elevated when singing in the highest pitch. There was no consistent task-based difference in EMG amplitude for the other singing tasks.     

Breathing muscle activity and subglottal pressure dynamics in singing and speech

Previous studies have indicated that the diaphragm may contribute to the accomplishment of the quick and precise subglottal pressure changes required during singing. The present investigation compares data collected from simultaneously recorded electromyograms from breathing muscles and transdiaphragmatic pressure during singing as well as during nonsense and emphatic speech.     

Analysis and modelling of overtone singing in the sygyt style

Overtone singing, also called biphonic singing, xöömij or chant diphonique in french; is a special singing style that exhibits two or more separate sounds - one “drone” sound of relatively low pitch and one or more high pitch melody sounds. The perceived pitches of the upper tones are multiples of the drone sound, i.e. taken from its overtone scale. Compared to voiced sounds of western style singers, the relative amplitude of the melody pitches is quite high, and the formant bandwidth of overtone sounds is small. This paper tries to answer the question of how these formant properties are achieved. Experimental investigations and numerical calculations prove the existence of two closely neighboured formants for the production of the melody sound in the sygyt style.     

Jaw Opening in Novice and Experienced Classically Trained Singers

This study examined the amount of jaw opening used by two groups of singers, those with less than 4 years of training (novice) and those with more than 8 years of training (experienced) in the Western tradition of opera and art song. Movement of the jaw in the superior-inferior plane was measured with the use of a lightweight head-mounted cephalostat with a strain gauge. The subjects spoke and then sung a carrier phrase "I say b(v)p," where (v) was each of three vowels, [a], [i], and [u]. The phrase was first spoken with a natural inflection and then sung on a repeated pitch at three notes from the low, medium, and high singing voice range. There was no statistically significant difference in jaw opening between the two groups of singers. Vowel was significant for jaw opening in both groups, with [a] being produced with more jaw opening than [i] or [u]. The voicing condition was also significant for jaw opening with greater jaw opening being used as pitch increased. In general the amount of jaw opening was smallest for the low singing voice condition and greatest for the high singing voice condition. The jaw opening most typically was less in the low voice condition than in the speech condition and then increased for both the medium and high voice tasks. All but two singers used more jaw opening on the [a] vowel than the other two vowels at all voicing conditions.     

Frequency and risk factors for voice problems in teachers of singing and control subjects

Using a questionnaire format, 125 teachers of singing and 49 control subjects indicated whether they had a current or past voice problem, and provided information about their demographic characteristics, voice use patterns, and medication use. The results revealed similar rates of current voice problems reported by the two subject groups. However, teachers of singing were considerably more likely to report ever having had a voice problem than controls (64 vs. 33%). Risk factors were similar for the two groups. Dehydrating medications and a report of a past voice problem both increased the likelihood of perceiving a current problem, by a factor of three and five, respectively. Females were twice as likely to report a past voice problem as males, and younger subjects were slightly more likely to report a past problem as compared with older subjects. The implications of the findings are discussed from a theoretical as well as pragmatic perspective.     

Zwitters: Particles between quantum and classical

We describe both quantum particles and classical particles in terms of a classical statistical ensemble, with a probability distribution in phase space. By use of a wave function in phase space both can be treated in the same quantum formalism. Quantum particles are characterized by a specific choice of observables and time evolution of the probability density. Then interference and tunneling are found within classical statistics. Zwitters are (effective) one-particle states for which the time evolution interpolates between quantum and classical particles. Experimental bounds on a small parameter can test quantum mechanics.     

The classical and quantum mechanics of a particle on a knot

A free particle is constrained to move on a knot obtained by winding around a putative torus. The classical equations of motion for this system are solved in a closed form. The exact energy eigenspectrum, in the thin torus limit, is obtained by mapping the time-independent Schrödinger equation to the Mathieu equation. In the general case, the eigenvalue problem is described by the Hill equation. Finite-thickness corrections are incorporated perturbatively by truncating the Hill equation. Comparisons and contrasts between this problem and the well-studied problem of a particle on a circle (planar rigid rotor) are performed throughout.     

Equivalence between classical and quantum dynamics. Neutral kaons and electric circuits

An equivalence between the Schrödinger dynamics of a quantum system with a finite number of basis states and a classical dynamics is presented. The equivalence is an isomorphism that connects in univocal way both dynamical systems. We treat the particular case of neutral kaons and found a class of electric networks uniquely related to the kaon system finding the complete map between the matrix elements of the effective Hamiltonian of kaons and those elements of the classical dynamics of the networks. As a consequence, the relevant ? parameter that measures CP violation in the kaon system is completely determined in terms of network parameters.     

Universal local symmetries in classical mechanics and physical degrees of freedom

In a recent paper we have analyzed the role that a universal set of local symmetries plays in suppressing the superposition principle in classical mechanics via a path-integral formulation of classical mechanics itself. In this Letter first we generalize those local symmetries, second we study the role which the gauge fixing plays and third we put forward the idea of which ones should be the physical degrees of freedom of the theory.     

Performance comparison between classical and quantum control for a simple quantum system

Brańczyk et al. pointed out that the quantum control scheme is superior to the classical control scheme for a simple quantum system using simulation [A.M. Brańczyk, P.E.M.F. Mendonca, A. Gilchrist, A.C. Doherty, S.D. Barlett, Quantum control theory of a single qubit, Physical Review A 75 (2007) 012329 or arXiv e-print quant-ph/0608037]. Here we rigorously prove the result. Furthermore we will show that any quantum operation does not universally “correct” the dephasing noise.     

The external frame function in the control of pitch, register, and singing mode: Radiographic observations of a female singer

This study investigates pitch control, register, and singing mode related movements of the laryngo-pharyngeal structures by radiographic methods. One trained female singer served as the subject. The results show that singing voice production involves complex movements in the laryngeal structures. Pitch related increase in the thyro-arytenoid distance (vocal fold length) is nonlinear, slowing down as pitch rises. Similar observations have been made earlier. At the highest pitches, a shortening of the distance can be seen, suggesting the use of alternative pitch control mechanisms. The various observations made support the existence of three registers in this trained female singing voice. Open and covered modes of singing seemed to be distinguishable on the basis of different amounts of inner and outer forces acting on the larynx. Therefore, caution must be exercised when generalizing from the results.     

The charge fluctuations in classical Coulomb systems

We study the asymptotic behavior of the charge fluctuations (Q – (Q )² in infinite classical systems of charged particles, and show, under certain clustering assumptions, that if the charge fluctuations are not extensive, then they are necessarily of the order of the surface ¦¦. Moreover, when the canonical sum rules that are typical for equilibrium states of particles interacting with long-range forces hold true, we prove a central limit theorem for the normalized charge variable ¦¦^–1/2((Q – (Q )) in two and three dimensions. In one dimension, the probability distribution of the charge itself converges. The latter case is illustrated by the example of the one-dimensional Coulomb gas.     

Quantum discord and classical correlation signatures of mobility edges in one-dimensional aperiodic single-electron systems

We investigate numerically the quantum discord and the classical correlation in a one-dimensional slowly varying potential model and a one-dimensional Soukoulis–Economou ones, respectively. There are well-defined mobility edges in the slowly varying potential model, while there are discrepancies on mobility edges in the Soukoulis–Economou ones. In the slowly varying potential model, we find that extended and localized states can be distinguished by both the quantum discord and the classical correlation. There are sharp transitions in the quantum discord and the classical correlation at mobility edges. Based on these, we study “mobility edges” in the Soukoulis–Economou model using the quantum discord and the classical correlation, which gives another perspectives for these “mobility edges”. All these provide us good quantities, i.e., the quantum discord and the classical correlation, to reflect mobility edges in these one-dimensional aperiodic single-electron systems. Moreover, our studies propose a consistent interpretation of the discrepancies between previous numerical results about the Soukoulis–Economou model.     

Comparisons of pharynx, source, formant, and pressure characteristics in operatic and musical theatre singing

Belting, a vocal technique typically cultivated in musical theatre singing, differs timbrally from operatic singing in many interesting respects. The underlying phonatory differences have not been previously investigated in detail. Yet, belting is frequently associated with disturbances of voice function. Articulatory and phonatory characteristics are investigated in a female subject who is a professional singer (co-author JL) trained in both the operatic and belting styles and in an intermediate vocal technique (“mixed”). This article presents data obtained from this subject by video-fiberoptic observation of the pharynx, inverse filtering of airflow, and measurement of subglottal pressure. The results reveal that belting was characterized by very high subglottal pressures and sound levels, and apparently also by a comparatively high degree of glottal adduction. Comparisons with other investigations of related aspects of belting and operatic singing support the assumption that the data obtained from our subject are representative for these vocal techniques.