Search Results (4)

This study explores the relationship between formant frequencies and the directivity patterns of the Greek singing voice. Recordings were conducted in a controlled acoustic environment with four professional singers, two trained in classical music and two in Byzantine chant. Using microphones placed symmetrically on a hemispherical structure, participants sang the Greek vowels across different registers. Directivity patterns were analyzed in third-octave bands centered on each singer’s first three formant frequencies (F1, F2, F3). The results indicate that directivity patterns vary with register and center frequency, with differences observed across vowels and singers. These findings contribute to vocal production research and the development of simulation, auralization, and virtual reality applications for speech and music. Full article

This paper assesses the relationship between the so-called “curses” on the Woman in Gen 3:16 in terms of themes (garden, tree, creation, marriage, procreation, and so on) and concludes that the late poetic text of the Song aims at a deliberate corrective to the negative view of gender relations in Genesis. The use of mashal, “to rule over” in Gen 3 is reassessed from the perspective of its use of the native genre designation of mashal in Wisdom Literature. There, it refers to similarities between two compared items. The direct reversal of God’s speech to the humans in Gen 3, where the woman will be ruled over by her man but still desire him, appears in the Song in the speeches of the Beloved: there she states categorically that the man is her beloved and belongs to her, while she belongs to him. The tactic of defamiliarization (a Russian literary concept) is used to juxtapose radically different views and destabilizes the notion of only one meaning for the words under consideration. In effect, reading two opposing themes together forges a new, more inclusive understanding of both. This paper concludes with a dramatic new rendering of the Song, “The Song I Sing Complete” with speech and motifs reassigned to the woman’s voice, foregrounding her remarks within the genre of love poetry, drawing on tropes found in lyrical poetry and the myth of Israel’s neighbors in Mesopotamia and Egypt. Full article

(1) Background: Preterm infants spend their first weeks of life in the hospital partially separated from their parents and subjected to frequent potentially painful clinical procedures. Previous research has found that early vocal contact reduces infant pain perception while simultaneously increasing oxytocin (OXT) levels. The current study aims to assess the effect of maternal singing and speaking on mothers. (2) Methods: During a painful procedure over two days, twenty preterm infants were randomly exposed to their mother’s live voice (speaking or singing). Maternal OXT levels were measured twice: before and after singing, as well as before and after speaking. The anxiety and resilience responses of mothers were studied before and after the two-day interventions, regardless of the speaking/singing condition. OXT levels in mothers increased in response to both singing and speech. Concurrently, anxiety levels decreased, but no significant effects on maternal resilience were found. (3) Conclusions: OXT could be identified as a key mechanism for anxiety regulation in parents, even in sensitive care situations, such as when their infant is in pain. Active involvement of parents in the care of their preterm infants can have a positive effect on their anxiety as well as potential benefits to their sensitivity and care abilities through OXT. Full article

Singing voice directivity for five sustained German vowels /a:/, /e:/, /i:/, /o:/, /u:/ over a wide pitch range was investigated using a multichannel microphone array with high spatial resolution along the horizontal and vertical axes. A newly created dataset allows to examine voice directivity in classical singing with high resolution in angle and frequency. Three voice production modes (phonation modes) modal, breathy, and pressed that could affect the used mouth opening and voice directivity were investigated. We present detailed results for singing voice directivity and introduce metrics to discuss the differences of complex voice directivity patterns of the whole data in a more compact form. Differences were found between vowels, pitch, and gender (voice types with corresponding vocal range). Differences between the vowels /a:, e:, i:/ and /o:, u:/ and pitch can be addressed by simplified metrics up to about d2/D5/587 Hz, but we found that voice directivity generally depends strongly on pitch. Minor differences were found between voice production modes and found to be more pronounced for female singers. Voice directivity differs at low pitch between vowels with front vowels being most directional. We found that which of the front vowels is most directional depends on the evaluated pitch. This seems to be related to the complex radiation pattern of the human voice, which involves a large inter-subjective variability strongly influenced by the shape of the torso, head, and mouth. All recorded classical sung vowels at high pitches exhibit similar high directionality. Full article