Music Performance

Music performance involves precise motor control that is coordinated with higher order planning to convey complex structural information. In addition, music performance usually involves motor tasks that are not learned spontaneously (as in the use of the vocal apparatus), the reproduction of preestablished sequences (notated or from memory), and synchronized joint performance with one or more other musicians. Music performance also relies on a rich repertoire of musical knowledge that can be used for purposes of expressive variation and improvisation. As such, the study of music performance provides a way to explore learning, motor control, memory, and interpersonal coordination in the context of a real-world behavior. Music performance skills vary considerably in the population and reflect interactions between genetic predispositions and the effect of intensive practice. At the same time, research suggests that most individuals have the capacity to perform music through singing or learning an instrument, and in this sense music performance taps into a universal human propensity for communication and coordination with conspecifics.

Values of laryngeal stroboscopy in patients with chronic laryngitis exposed to occupational factors

Topicality: Chronic laryngitis occupies one of the leading positions in the structure of laryngeal pathology. Among other things in the etiology of chronic laryngitis, occupational factors, including a chemical exposure, play an important role. Laryngeal storoboscopy is one of the most informative methods of examination of the vocal apparatus in phoniatrics that allows observing rapid oscillating motion of the vocal folds during phonation, which cannot be seen without instrumental methods. Aim: to investigate the functional condition of the vocal apparatus based on the values of laryngeal storoboscopy in patients with chronic laryngitis who were exposed to chemical factors. Materials and methods: Seventy-five patients with chronic laryngitis and 15 healthy individuals of the control group were examined. The patients were divided into groups based on the type of chronic laryngitis (group 1 one was made up of those who had a catarrhal type, group 2 had subatrophic type patients) and the intensity of chemical factors in the production of nitrogen compounds (subgroup A included patients who worked in manufacturing workshops where the level of chemicals in the air did not exceed maximum allowable levels, whereas subgroup B experienced an exposure to elevated chemical levels). Groups 1A and 2A included 23 and 20 patients, respectively; groups 1 B and 2B were composed of 17 and 15 patients, respectively. The patients underwent a specialized phoniatric examination and they were determined the maximum phonation time (MPT). We performed a video laryngeal stroboscopic examination on the equipment complex of «Karl Storz» (Germany). The results were evaluated by calculating the integrated score of phonator oscillations recorded during a stroboscopic study. Results and discussion: Patients with chronic laryngitis – employees of the public joint-stock company «AZOT» were examined. This is a large chemical production with several manufacturing workshops involved into various technological processes. According to the intensity of the influence of chemical factors, the manufacturing workshops differ significantly; therefore the intensity of the influence of the factors of the production environment on the upper respiratory tract varies in those working in the production of nitrogen-containing compounds. We compared the results of the survey of patients included in subgroups A and B. The MPT in patients of group 1A was 18.6±1.6 sec versus 13.6±1.2 sec in group 1B; in group 2A, it was 13.4±1.1 sec versus 10.8±0.8 sec in group 2B and 21.2±1.6 sec in the control group. Values in all study groups significantly (p<0.05) differed from the control. Also in groups 1B, 2A and 2B, the MPT was significantly lower than in group 1A. Thus, in patients with chronic laryngitis, who worked in conditions of increased exposure to chemicals present in the air of the production environment, the recorded MPT was significantly lower than in the controls, which is indicative of the impaired function of the vocal apparatus. Based on laryngeal stroboscopy findings, voice dysfunction revealed in patients with chronic laryngitis was more often manifested by changes in the vibratory cycle, desynchronized vocal apparatus and weakened amplitude of oscillations. According to the average score of video laryngeal stroboscopy in all groups of examined patients with chronic laryngitis, a significant (p &lt;0.05) difference was revealed in comparison with controls, as well as between some groups. In particular, in group 1A the integrated score of laryngeal stroboscopy data was 7.9±0.2, in 1B – 8.8±0.6, in 2A – 10.5±0.8 and in 2B – 12.1±1.0. The normal value is 5.010±0.001. Patients with higher scores had more severe laryngeal impairments and disease course. In group 2 (both A and B subgroups), changes according to video laryngeal stroboscopy were significantly more pronounced than in group 1A. In group 2B, the impairments were more severe as compared with both subgroups of group 1 and group 2A. Thus, in all studied groups of patients with chron ic laryngitis there are seen significant impairments of the vocal apparatus. At the same time, based on the findings of clinical methods and objective instrumental examination, there is a tendency to the deterioration in the functional condition of the vocal apparatus with increased chemical exposure in production. In particular, in groups B, compared with groups A, there is a marked increase in the desynchronization of vibrational oscillations, the number of cases with lack of stroboscopic comfort increases, the number of cases of hypertonia of the vestibular larynx increases. Similar trends apply to other parameters of video laryngeal stroboscopy in groups. On the whole, a quantitative assessment with the help of scores of integrated laryngeal stroboscopy allows accurate determining the severity of changes in the phonatory activity of the vocal apparatus and objectifying the diagnosis of chronic laryngitis against the background of chemical factors. The obtained data will be useful for improving the quality of diagnosis of voice disorders in chronic laryngitis, they can also be beneficial for vocational selection and addressing issues of occupational examination. Conclusions: 1. An impaired voice function according to laryngeal stroboscopy in patients with chronic laryngitis was manifested by changes in the vibratory cycle, mainly by desynchronized vocal apparatus and weakened amplitude of oscillations. 2. With the help of video laryngeal stroboscopy it is possible to objectify, quantify and determine the severity of phonatorial disorders in chronic laryngitis against the background of the exposure to chemical factors. 3. The degree of voice dysfunction according to laryngeal stroboscopy in patients with chronic laryngitis depends on the level of chemical exposure.

Voice Production and Perception

The voice is a prime channel of communication in humans and other animals. Voices convey many kinds of information, including physical characteristics like body size and sex, as well as providing cues to the vocalizing individual’s identity and emotional state. Vocalizations are produced by dynamic modifications of the physiological vocal production system. The source-filter theory explains how vocalizations are produced in two stages: (a) the production of a sound source in the larynx, and (b) the filtering of that sound by the vocal tract. This two-stage process largely applies to all primate vocalizations. However, there are some differences between the vocal production apparatus of humans as compared to nonhuman primates, such as the lower position of the larynx and lack of air sacs in humans. Thanks to our flexible vocal apparatus, humans can produce a range of different types of vocalizations, including spoken language, nonverbal vocalizations, whispering, and singing. A comprehensive understanding of vocal communication takes both production and perception of vocalizations into account. Internal processes are expressed in the form of specific acoustic patterns in the producer’s voice. In order to communicate information in vocalizations, those acoustic patterns must be acoustically registered by listeners via auditory perception mechanisms. Both production and perception of vocalizations are affected by psychobiological mechanisms as well as sociocultural factors. Furthermore, vocal production and perception can be impaired by a range of different disorders. Vocal production and hearing disorders, as well as mental disorders including autism spectrum disorder, depression, and schizophrenia, affect vocal communication.

DEVELOPMENT OF PHONIATRIC CARE ABROAD (LITERATURE REVIEW)

Становление фониатрии как специальности в разных странах мира происходило по собственному пути, но ее развитие неразрывно было связано с сурдологией и общей оториноларингологией. Появление новых технологий и внедрение их в практику позволяло совершенствовать диагностику заболеваний гортани, улучшать лечение и реабилитацию пациентов с патологией голосового аппарата. Thus, the formation of phoniatry as a specialty in different countries of the world took its own path, but its development was inextricably linked with audiology and General otorhinolaryngology. The emergence of new technologies and their implementation in practice made it possible to improve the diagnosis of diseases of the larynx, improve the treatment and rehabilitation of patients with pathology of the vocal apparatus.

A novel theory of Asian elephant high-frequency squeak production

Background Anatomical and cognitive adaptations to overcome morpho-mechanical limitations of laryngeal sound production, where body size and the related vocal apparatus dimensions determine the fundamental frequency, increase vocal diversity across taxa. Elephants flexibly use laryngeal and trunk-based vocalizations to form a repertoire ranging from infrasonic rumbles to higher-pitched trumpets. Moreover, they are among the few evolutionarily distantly related animals (humans, pinnipeds, cetaceans, birds) capable of imitating species-atypical sounds. Yet, their vocal plasticity has so far not been related to functions within their natural communicative system, in part because not all call types have been systematically studied. Here, we reveal how Asian elephants (Elephas maximus) produce species-specific squeaks (F0 300–2300 Hz) by using acoustic camera recordings to visualize sound emission and examining this alongside acoustic, behavioral, and morphological data across seven captive groups. Results We found that squeaks were emitted through the closed mouth in synchrony with cheek depression and retraction of the labial angles. The simultaneous emission of squeaks with nasal snorts (biphonation) in one individual confirmed that squeak production was independent of nasal passage involvement and this implicated oral sound production. The squeaks’ spectral structure is incongruent with laryngeal sound production and aerodynamic whistles, pointing to tissue vibration as the sound source. Anatomical considerations suggest that the longitudinal closed lips function as the vibrators. Acoustic and temporal parameters exhibit high intra- and inter-individual variability that enables individual but no call-subtype classification. Only 19 of 56 study subjects were recorded to squeak, mostly during alarming contexts and social arousal but some also on command. Conclusion Our results strongly suggest that Asian elephants force air from the small oral cavity through the tensed lips, inducing self-sustained lip vibration. Besides human brass players, lip buzzing is not described elsewhere in the animal kingdom. Given the complexity of the proposed mechanism, the surprising absence of squeaking in most of the unrelated subjects and the indication for volitional control, we hypothesize that squeak production involves social learning. Our study offers new insights into how vocal and cognitive flexibility enables mammals to overcome size-related limitations of laryngeal sound production. This flexibility enables Asian elephants to exploit a frequency range spanning seven octaves within their communicative system.

Liudmyla Heorhiivna Tsurkan – personality and pedagogue

The article is devoted to the problems of vocal pedagogics on the example of creative life of outstanding teacher, professor of the Department of solo singing of Kharkiv I. P. Kotlyarevsky National University of Arts Liudmyla Heorhiivna Tsurkan. The goal of an article is to reveal the path of professional growth of L. H. Tsurkan and to systemize her pedagogical principles. The article uses such methods of research as historical, analytical and stylistic. The relevance of the study is due to the lack of generalizing work on the professional development and pedagogical principles of the singer and teacher. Scientific novelty lies in the coverage of previously unknown facts of the biography of L. H. Tsurcan and systematization of its methodological principles. Results for discussion. L. H. Tsurkan is an opera singer who created more than 30 leading images of repertoire for soprano, used her own experience in performance and creative premises in her own pedagogical activity, which she started in 1976 on the Department of Solo signing of Kharkiv I. P. Kotlyarevsky National University of Arts. On several examples, the questions of technology, including methodology of development of vocal apparatus, are researched. She combined fundamental principles of Italian, Russian and Ukrainian schools of singing as well as enriched these methods with new skills and ideas, which help young singers to liberate their creativity, and develop their emotional memory and independence of creative search. On some examples principles of singing are analyzed which were given to the students by L. H. Tsurkan. These are low-rib breath, free state of oropharynx. High position is combined with low breath. The power of voice is coordinated with chest and head resonance or with their combination with dominance of one or another on several parts of the voice. It is stressed that while working on technique and right breath, she always bore music in her mind. A breath is a mean of performers expressiveness. Thus, it has to change according to style of the work. Significant role of diction is stressed, which draw a lot of attention of L. H. Tsurkan. Conclusions. Renowned professor and Master of vocal pedagogics, she created experience and methodical devices which are used not only by her former students, but as well by her colleagues and young pedagogues. These are: relentless and inspired work; indefatigable search for ways and methods of correction of problems, and perfection of already achieved skills; constant development, both cultural and intellectual; ability to play musical instruments and knowledge of theory and history of music; ability to speak foreign languages, which gives an opportunity to learn an incredibly wide variety of musical literature. Not only does this all enrich both spiritually and professionally, but also it is a straightforward path to success and more complete realization of personality. The article uses reminiscences of L. H. Tsurkan’s daughter about life of the pedagogue, video-recordings of master-classes and lessons of the Professor.

Decolonial Echoes: Voicing and Listening in Rebecca Belmore's Sound Performance

Focusing on the Canadian settler context, this article analyzes two of Anishinaabe artist Rebecca Belmore’s interactive works that enact alternatives to colonial understandings of voicing and listening that have centred the human ear and vocal apparatus. In particular, I analyze Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother (1991), where Belmore constructed a large wooden megaphone for participants to speak into and address the land directly, and Wave Sound (2017), where Belmore installed four sculptural listening tubes in Canadian National Park and reserve sites that invited visitors to listen to the land. Through my analysis of these two iterative performances, I examine how the echo functions as a decolonial gesture and multisensorial (re)mapping that can generate alternatives to modernity’s spatial-temporal-sensorial order and unsettle the coloniality of the voice. Engaging critical work in sound studies and Native feminist theories to think about vibration, I propose that voicing and listening can be understood as a set of social relationships between people and space/time.

THE IMAGE OF ANNA IN THE OPERA “STOLEN HAPPINESS” BY Y. MEYTUS: INTERPRETATIVE ANALYSIS

The article analyzes the musical material of the two arias of Anna – as the key characteristics of her image in the opera Y. Meytus “Stolen Happiness” (based on the experience of analysis, since the arias are in the work and repertoire of the author of the study). Consideration of the image from the point of view of performance and interpretation of the understanding of the interactions of words and music, the composer logic of emotional experiences, taking into account a complex of components such as the nature of the musical fabric and the historical aspect, is proposed. operas. Statement of the problem. The creativity of Y. Meytus as a composer, who stood at the origins of the formation of the Ukrainian composing school of the twentieth century, is still relevant and, in particular, his rarely performed opera «Stolen Happiness», which in the true opinion of Y. Malyshev, is a «significant contribution» in the development of realistic opera art. There are still an undeserved number of records of this opera, and accordingly a small number of variants of interpretations of images, semantic texts and subtexts, and this work in this sense is of practical importance from the performer’s point of view. Since Anna’s arias are in the work and repertoire of the author of the study, the relevance of this topic is also related to the direct presentation of this music on stage. The purpose of the study –to determine the specificity of the interpretation of the image of Anna from the opera “Stolen Happiness” by Y. Maytus. Analysis of publications on the topic of the study. Regarding the works of Y. Meytus, there are researches and publications by Y. Malyshev, L. Archimovich, I. Mamchur, L. Bas, where the composer’s creativity is covered. There are few sources for the opera «Stolen Happiness», and there is no comprehensive and in-depth interpretative performance analysis.Presentation of the main research material. Widely utilizing the opera-harmonic basis of the features of Western Ukrainian folklore in the opera «Stolen Happiness», Y. Meytus emphasizes the national identity and color of the characters, including the main heroine, by means of the symphonic development of the musical material creates a dramatically and intelligently developed development of the multifaceted and multifaceted. The task of vocal performance is to consciously read the “score of feelings” of the performed character, which is contained primarily in the musical texture, which much and fully conveys the dynamics of character image development. The vocal part, the melody, being a part of harmony, is the condensate, the quintessence of the harmonious thought of the composer, which demands from the performer imagination, intuition, attention, sensory perception, emotional sensitivity. Conclusions of the study. Having performed a performative analysis of the image of Anna in the opera «Stolen Happiness» by Y. Meytus. 1. Because, first and foremost, it is an aria-melodic musical drama, close in style to verisim (the melody in Y. Meytus does not lose the properties of the length and cantilenes) therefore performance requires good long vocal breathing, cantilever, legato, flexibility of voice and timbral equality with simultaneous force of sound in climaxes, long thought of phrases, fullness of each vowel, clear diction, that is, awareness of the relationship between words and music, the smoothness of the language line. Good intonation hearing and good coordination of vocal apparatus are required not only from the point of view of breathing, but also from the point of view of difficult intonational musical language. 2. Performing arias requires from the singer a deep emotional responsiveness, great mental strength and physical endurance, as well as an actor’s understanding of the image-role. This image does not tolerate excessive passion for expressiveness, unnecessary emotions and hysterics, it will penetrate the depth of the tragedy of the heroine. The nuances from pianissimo, not transient to whispering, but voiced, to the filled fortissimo, not transitional to cry. The choice of tempo, especially given their frequent change, should be consistent with the natural sound of the vocal language. 3. The texture of the music material determines the role of the voice. The party is suitable for a solid lyric, lyric-dramatic (spinto) or dramatic soprano, that is, for voice, has the flight to “cut through” the orchestra and be sounded part of its rich texture.

The appropriation of the necessary technique in singing performance

This article wants to highlight the fact that for an opera/operetta performer, just talent and voice are not enough, he must have a multilateral, detailed and disciplined training. Of course, the nature of the voice is the starting point of any path in subsequent evolution. To reach a high level of interpretation you have to go through certain stages of approaching an opera/operetta role. You can't start the road without knowing your vocal apparatus, its components and how to use it, for later to be able to get to the interpretation, style and personal note. A perfect opera/operetta performer will be the one who, in addition to his voice, is able to understand the subtleties of music and implicitly of the libretto, and will also have a very fair and organized technical and informational training, "The sincerity of the expressiveness of a voice that does not take into account the real personal potentials, she will be doubtful” (Cîmpeanu 1975, 28).

PSYCHOTECHNICS OF SINGING AS A MODERN DIRECTION OF VOCAL PEDAGOGY

The aim of the study is to solve the problem of development of vocal abilities and vocal qualities through the development of stress resistance during singing of students of artistic specialties from a psychophysiological point of view, which is still relevant and appropriate in terms of finding and implementing innovative teaching aids. Whereas singing must first and foremost be physiologically correct, a person's voice is a consequence of his or her physical and mental health. The key to the singer's success in the modern hyper-stressful world will be the ability to liberate the body and soul from certain psychophysiological overloads through certain exercises, trainings, etc. Certainly, for each organism of the singer it is necessary to select a separate set of special exercises, look for appropriate methods for educating psychophysiological freedom during singing, as well as to establish an individual singing regime. The article considers certain theoretical and methodological developments in the field of education and upbringing of a music artist, which allow to form an idea of traditions and innovations for effective work with students in the process of learning to sing. The described views of both vocal teachers and psychophysiologists resonate with each other, complementing each other and forming a new modern direction of vocal pedagogy – the psychotechnics of singing. In particular, the use in practice of publicly available trainings by D. Burns, A. Ellis and S. Genyk help to solve certain psychophysiological problems in vocal pedagogy, and the methods and techniques of R. Berkeley and A. Kalabin contribute to the release of psychophysiological feelings of the vocalist, expanding his professional opportunities. Therefore, research and implementation of interesting methods and practices of leading specialists not only in the field of vocal pedagogy, but also psychology, physiology and medicine in the educational process will help not only to expand singing potential and improve the work of the vocal apparatus. The study of such innovations is the prospect of further research to substantiate the psychotechnics of singing as a new direction of vocal pedagogy.