Models and Analysis of Vocal Emissions for Biomedical Applications

The International Workshop on Models and Analysis of Vocal Emissions for Biomedical Applications (MAVEBA) came into being in 1999 from the particularly felt need of sharing know-how, objectives and results between areas that until then seemed quite distinct such as bioengineering, medicine and singing. MAVEBA deals with all aspects concerning the study of the human voice with applications ranging from the neonate to the adult and elderly. Over the years the initial issues have grown and spread also in other aspects of research such as occupational voice disorders, neurology, rehabilitation, image and video analysis. MAVEBA takes place every two years always in Firenze, Italy. This edition celebrates twenty years of uninterrupted and succesfully research in the field of voice analysis

Context and change in Japanese music

Although Japan is often portrayed as culturally and ethnically highly homogeneous, its music culture has long been extremely diverse, especially so with modernization and globalization. Thus we begin by problematizing the term ‘Japanese music’. We then aim to provide broad historical, cultural and theoretical contexts within which to understand the subsequent genre-specific chapters, by introducing a range of cross-cutting topics, issues and research perspectives - for example: Japan’s interactions with other cultures throughout history; sociocultural contexts of each genre, including issues of patronage, audiences, class and gender; social structures and mechanisms of transmission; music theory in Japan; aesthetic concepts; and research culture. We conclude with a view into the musical future, considering the impact of educational policies, globalization and so forth

Historical recordings of Bartók’s folksong arrangements (1928); variations of performance practice with striking surprises

His Master’s Voice recorded two of Béla Bartók’s song cycles in 1928, the Five Hungarian Folksongs (BB 97), and the Eight Hungarian Folksongs (BB 47) with the composer at the piano. The research primarily focuses on the analysis of the 1928 recordings, analysing the singers’ performance, and identifies the three singers’ musical choices. The performance analysis discusses whether the performers’ interpretation conformed to the score and what specific differences they made. The analysis also examines how flexible Bartók was with the singers’ interpretation of his songs. The final section of the thesis traces how the performance of these songs has evolved over time. For the comparison, recordings made between 1950 and 2011 are considered. The analysis examines what specific performance trends emerge from the artists over this period and how the performing style of the songs has changed since the 1928 recordings. The link between the research and the D.M.A. final recital was to attain a comprehensive background to the two song cycles, to highlight the variety of performance choices in the analysis, and to apply some of the findings in the recital. The findings may be useful for modern performers and performer-scholars in terms of the background of these songs. Furthermore, if current vocal practitioners decide to perform Bartók’s folksong arrangements, the thesis offers a wide range of musical choices that they might like to consider in their practice. The thesis also contributes to the better understanding of Bartók’s performance of his own music

Models and Analysis of Vocal Emissions for Biomedical Applications

The MAVEBA Workshop proceedings, held on a biannual basis, collect the scientific papers presented both as oral and poster contributions, during the conference. The main subjects are: development of theoretical and mechanical models as an aid to the study of main phonatory dysfunctions, as well as the biomedical engineering methods for the analysis of voice signals and images, as a support to clinical diagnosis and classification of vocal pathologies

Vocal emotions on the brain: the role of acoustic parameters and musicality

The human voice is a powerful transmitter of emotions. This dissertation addresses three main gaps in the field of vocal emotion perception. The first is the quantification of the relative contribution of fundamental frequency (F0) and timbre cues to the perception of different emotions and their associated electrophysiological correlates. Using parameter-specific voice morphing, the results show that both F0 and timbre carry unique information that allow emotional inferences, although F0 seems to be relatively more important overall. The electrophysiological data revealed F0- and timbre-specific modulations in several ERP components, such as the P200 and the N400. Second, it was explored how musicality affects the processing of emotional voice cues, by providing a review on the literature linking musicality to emotion perception and subsequently showing that musicians have a benefit in vocal emotion perception compared to non-musicians. The present data offer original insight into the special role of pitch cues: musicians outperformed non-musicians when emotions were expressed by the pitch contour only, but not when they were expressed by vocal timbre. Although the electrophysiological patterns were less conclusive, they imply that musicality may modulate brain responses to vocal emotions. Third, this work provides a critical reflection on parameter-specific voice morphing and its suitability to study the processing of vocal emotions. Distortions in voice naturalness resulting from extreme acoustic manipulations were identified as one of the major threats to the ecological validity of the stimulus material produced with this technique. However, the results suggested that while voice morphing does affect the perceived naturalness of stimuli, behavioral measures of emotion perception were found to be remarkably robust against these distortions. Thus, the present data advocate parameter-specific voice morphing as a valid tool for vocal emotional research

Context and change in Japanese music

Although Japan is often portrayed as culturally and ethnically highly homogeneous, its music culture has long been extremely diverse, especially so with modernization and globalization. Thus we begin by problematizing the term ‘Japanese music’. We then aim to provide broad historical, cultural and theoretical contexts within which to understand the subsequent genre-specific chapters, by introducing a range of cross-cutting topics, issues and research perspectives - for example: Japan’s interactions with other cultures throughout history; sociocultural contexts of each genre, including issues of patronage, audiences, class and gender; social structures and mechanisms of transmission; music theory in Japan; aesthetic concepts; and research culture. We conclude with a view into the musical future, considering the impact of educational policies, globalization and so forth