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

Models and analysis of vocal emissions for biomedical applications

This book of Proceedings collects the papers presented at the 3rd International Workshop on Models and Analysis of Vocal Emissions for Biomedical Applications, MAVEBA 2003, held 10-12 December 2003, Firenze, Italy. The workshop is organised every two years, and aims to stimulate contacts between specialists active in research and industrial developments, in the area of voice analysis for biomedical applications. The scope of the Workshop includes all aspects of voice modelling and analysis, ranging from fundamental research to all kinds of biomedical applications and related established and advanced technologies

Pan European Voice Conference - PEVOC 11

The Pan European VOice Conference (PEVOC) was born in 1995 and therefore in 2015 it celebrates the 20th anniversary of its establishment: an important milestone that clearly expresses the strength and interest of the scientific community for the topics of this conference. The most significant themes of PEVOC are singing pedagogy and art, but also occupational voice disorders, neurology, rehabilitation, image and video analysis. PEVOC takes place in different European cities every two years (www.pevoc.org). The PEVOC 11 conference includes a symposium of the Collegium Medicorum Theatri (www.comet collegium.com

The sound of meaning: theories of voice in twentieth-century thought and performance

This dissertation addresses the problem of the denigration of the voice in poststructural theory and contemporary performance criticism. The problem has antecedents in twentieth-century language philosophy. Saussure defines language as a compendium of arbitrary words recognized according to the degrees of phonetic difference between them. Since for Saussure the arbitrary words of language also designate arbitrary concepts, he concludes that the sounds of words cannot be thought constituent of their sense. After Saussure, structuralism dislodges the voice from its privileged position in the phonologic discourses of Western thought. Poststructuralism views meaning as a product of socially constructed language systems, and it argues that neither the voice nor the speaking subject can be afforded linguistic agency. A strain of contemporary theatre criticism, premised upon poststructuralism, interprets the postmodern stage as a site in which the voice, language, and the speaking subject come under critique and suspicion, stripped of agency and communicative efficacy. This dissertation investigates twentieth-century theories of voice, language, and speech in order to define the status of the voice in various disciplines ranging from paleoanthropology, phenomenology, structuralism, speech act theory, theatre semiotics, the philosophies of technology, and media studies. By comparing the status of the voice in other disciplines, this dissertation argues for a recuperation of the voice against the denigration evident in poststructural theory and performance criticism. Relying on Heidegger\u27s phenomenal view of language, the autonomy of the voice in speech act theory and theatre semiotics, the centrality of vocalized language in human evolution, and the resurgence of orality in electronic media, this dissertation argues that the voice continues to act as an important and primary signifying agent on the postmodern stage, regardless of poststructural arguments to the contrary

The Grain of a Vocal Genre: A Comparative Approach to the Singing Pedagogies of EVDC Integrative Performance Practice, Korean Pansori, and the Centre for Theatre Practices 'Gardzienice'

This thesis is a cross-cultural examination of the relationship between the trained physiology of the voice and culture. Building on Barthes's notion of the grain of the voice,' I argue that each training system moulds the body in a way that decisively affects aesthetic phonation. Therefore I analyse voice training as a bodily inscription, in its Foucauldian sense, and I focus on the pedagogical ethics crystallised in the 'grain of the genre.' This I define as the collective 'grain' to which pedagogies of codified genres aspire, beyond and apart from the individual singing performer's 'grain' ; in other words, the 'grain of the genre' is the means by which culture is reaffirmed in/through the trainee's voice. The introductory chapter looks at the anatomical and physiological properties of the voice, traces the history of theorisations of the voice in order to situate my project, and explains my methodologies as a practitioner/researcher. Drawing on extended practical fieldwork, each of the subsequent three chapters explores the ' grain' of three pedagogies in the light of my personal training and the historical, musicological and broader cultural research I conducted in relation to each method. The three training approaches are a recent development in the area of bel canto (Integrative Performance Practice by 'Experience Vocal Dance Company,' USA and UK), an Asian traditional genre (Korean pansori), and a training pertaining to the Western avant-garde tradition (Centre for Theatre Practices 'Gardzienice,' Poland). Chapter 2 argues that the transdisciplinary grain of IPP on one hand adheres to a scientific approach to voicing, while attempting to bypass the deadends of the predominant training of the 'natural' voice. Chapter 3 acknowledges the grain of pansori as developed and promoted through the explicit aesthetic agenda of Korean han. Chapter 4 studies the grain of Gardzienice as one of 'laughing openness,' a grain mainly preoccupied with the inter-corporeal and the relational. The final chapter revisits the category of the 'grain of the genre' through my embodied perspective as a cross-cultural researcher. I reexamine the Foucauldian aspects of the 'grain' and its disciplinary character through the lens of the axis docility-resistance. I conclude the thesis with the suggestion of a dynamic relation between culture and vocal practice, the resistant aspects of which are, I argue, foregrounded when voice is addressed and taught as phonic and foreign.EThOS - Electronic Theses Online ServiceGBUnited Kingdo