AIRS 2nd Annual Meeting Abstracts

THEME 1 - DEVELOPMENT OF SINGING

SUB-THEME: 1.1 PERCEPTION AND PRODUCTION OF SINGING

** Preference for natural singing voice in pitch-matching and sounds categorization **

Yohana Leveque (Aix-en-Provence-France) yohana.leveque@gmail.com and Daniele Schon (CNRS-France)

Abstract:

Some studies on action imitation have shown an advantage for biological stimuli compared to non-biological stimuli, which could be due to the mirror system. We propose a parallel hypothesis: that auditory stimuli can be more accurately reproduced when the timbre is human than when the timbre is synthetic. Eighteen participants judged as poor singers and fourteen control participants performed a pitch-matching task, with vocal and synthetic models. We also evaluated their overall singing accuracy, as well as their fine-grained discrimination capacity. Our hypothesis was partially validated: the human model significantly helped poor singers. The effect of the human model on production might be linked to the use of motor representations in voice perception, which could help prepare the imitative vocal gesture. In a second study, we tested whether motor familiarity could impact sound processing. If producibility can help processing sounds, people should be able to categorize vocal sounds faster than non-vocal sounds and same gender voices faster than other-gender voices. Twenty-seven participants listened to brief natural or distorted male or female sounds in a singing voice, and were asked to categorize them as produced by a human being or a machine. Female participants were significantly faster in categorizing female natural voices than the other voices; in other words, they showed an advantage for sounds they could produce. Male participants showed faster reaction times for natural voices, whether male or female. While the impact of motor representations will need to be further tested by means of neuroimaging studies, these results clearly show the interest of using singing in order to explore very fundamental mechanisms linking production and perception.
 

SUB-THEME: 1.1 PERCEPTION AND PRODUCTION OF SINGING

** Development of singing: A critical review and directions for future research **

Rayna H. Friendly (McMaster University), frindr@mcmaster.ca and Laurel Trainor (McMaster University)

Abstract:

Introduction: Singing, like speech, is a universal human behavior. Yet, we know little about its development. In this paper, we review literature about singing development and begin to define a direction for future research. A thorough literature review has revealed many inconsistent findings and limitations to our current understanding of children’s abilities. First, we are limited in what we know about the developmental trajectory of singing in terms of how accuracy and precision improve with age. Second, we have limited knowledge about the factors that influence the development of singing ability. Third, we have limited knowledge about the type and timing of vocal training that would be most effective for teaching children how to sing. Fourth, we have a limited knowledge about the best ways to go about measuring singing ability in children.Fifth, we have limited knowledge about the relationship between vocal perception and production in children’s ability to sing. This relationship is important to understand because it can indicate whether poor singers have a deficit in perception, production, both, or neither.

Aim: The aim of this study is to highlight some of the limitations and possible reasons for opposing findings in the singing development literature. This can help us develop effective methods to objectively assess the singing abilities of young children at varying ages. Factors that will be considered include methodological limitations, conflicting ideas as to what should be measured, how recorded singing samples should be analyzed, and whether or not there might be sensitive periods during development when vocal training is critical to singing development in children.

Main: Contributions to AIRS Findings from this review will be particularly useful for future investigations and collaborations from the AIRS initiative. We will propose methodologies that can be effectively used by members of AIRS, as well as other researchers interested in singing development, to measure singing in children, investigate whether there are critical ages for maximal effects of musical experience, and also investigate if there are differential effects of this experience at different ages throughout development.

Implications: Discovering whether there are periods during the development of singing when children are particularly sensitive to vocal training and musical experience can have major implications for music education. This review will pinpoint methods that will be the most useful in assessing children’s singing abilities. Future studies and AIRS members can then use these methods to investigate the type and timing of vocal instruction that will lead to optimal singing development later in life, and inform the way we approach teaching children to sing.

SUB-THEME: 1.1 PERCEPTION AND PRODUCTION OF SINGING

** Pitch perception processes underlying singing ability **

Amy Fancourt (Goldsmiths, University of London) a.fancourt@gmail.com Fred Dick (Birkbeck College, University of London) and Lauren Stewart (Goldsmiths, University of London)

Abstract:

Introduction: There is general consensus among researchers that singing accuracy follows a developmental trajectory, relating to the maturation of perceptual, cognitive and physiological processes. Here, we investigate the development of pitch perception in children from 5 to 13 years, using robust psychophysical methods. We demonstrate that the ability to detect small pitch changes follows a different developmental trajectory compared with the ability to discriminate the direction of these pitch changes. The more prolonged time-course of the latter, along with individual differences in physiological maturation, has important implications for understanding feedback processes when singing in tune.

Method: 145 musically untrained subjects in nine age groups (5, 6, 7, 8, 9, 10, 11, 13 year olds, and adults) took part in two psychophysical adaptive thresholding tasks designed to measure the ability to detect a change in pitch and to discriminate the direction of a pitch change. Thresholds were measured for digitally generated tones centred on 500Hz using a three interval, forced-choice procedure.

Results: Analyses with age as both a categorical and continuous variable revealed that children from 5-13 years did not differ significantly from adults in their capacity to detect a pitch change. However, when discriminating the direction of pitch changes, age was a significant predictor of performance, with performance thresholds decreasing linearly from 6 to 11 years at which point adult-like thresholds were achieved.

Discussion: The findings from this study indicate that the capacities to detect a change in pitch and to discriminate the direction of pitch changes follow different developmental trajectories. Maturation in the capacity to perceive and discriminate the direction of pitch changes may underlie the observed age-related improvements in singing accuracy and may be one aspect of musicality that is improved through training.

SUB-THEME: 1.2 MULTIMODAL (AUDIO/VISUAL/MOTOR) ASPECTS SINGING

** Influence of infants on maternal speech and singing **

Judy Plantinga (University of Toronto) judy.plantinga@utoronto.ca Sandra Trehub (University of Toronto) sandra.trehub@utoronto.ca Frank Russo (Department of Psychology, Ryerson University) russo@psych.ryerson.ca

Abstract:

When mothers vocalize to their infants by talking and singing, they provide infants with a rich multimodal experience. To date, however, attention has focused largely on the vocal aspects of that experience. Infants not only hear their mothers’ voice but they also see her accompanying movements and gestures. Presumably, multimodal aspects of mothers’ sung and spoken performances are also affected by the infant’s ongoing responsiveness. We investigated how the expressiveness of mothers’ speech and singing to infants was altered when the partners could hear but could not see one another. In one condition, mother and infant had full visual access to one another. In a second condition, visual access was removed from both parties. In a third condition, the mother could monitor her infant by means of a video feed, but the infant could not see the mother. Each of these episodes was a minute in duration. If maternal singing and speech are influenced primarily by the mother’s intention to maintain her infant’s engagement, then one would expect the mother to generate more expressive (i.e, work harder) when her infant is out of view. If, however, mothers’ vocal performances depend critically on feedback from the infant, then one would expect more expressive maternal performances when the infant is in view. All data have been collected and are currently being coded for expressive vocal and gestural features in the three conditions. A preliminary review of the data suggests that access to infants’ behavior contributes to the enhancement of maternal vocal and gestural expressiveness. The study is consistent with the objectives of Theme 1 (Development of singing and comparisons with speaking), in particular, with Subtheme 1.1 (Multimodal Analysis), under the supervision of subtheme leaders Sandra Trehub and Frank Russo.
 

SUB-THEME: 1.2-MULTIMODAL (AUDIO/VISUAL/MOTOR) ASPECTS SINGING

** On the importance of visual aspects of performance in vocal pedagogy **

Lisa Chan (Ryerson University) lisa.chan@psych.ryerson.ca Darryl Edwards (University of Toronto) Frank Russo (Ryerson University)

Abstract:

Although vocal instruction typically focuses on issues such as control, tone quality and pitch, visual cues are also important for vocal performance. In this paper, we present a review of empirical studies on visual aspects of performance and examine their relevance for vocal pedagogy. Visual aspects of performance can influence structural and emotional judgments about music, such as interval size (Thompson, Graham & Russo, 2005) and emotional valence (Thompson, Russo & Quinto, 2008). In the case of interval size, head movement, eyebrow lifting, and mouth opening are all linearly related to pitch distance (Thompson & Russo, 2007). The effectiveness of visual cues does not depend on the extent to which observers are attending to the performance (Thompson, Russo & Quinto, 2008; Thompson, Russo & Livingstone, in press), which raises questions about how the audio-visual integration is achieved. Motion tracking and electromyography of observers reveals a subtle mirroring of visual aspects of performance (Livingstone, Thompson & Russo, 2009). According to the facial feedback hypothesis, producing a facial expression of emotion leads to the experience of that emotion. Thus, by unconsciously mimicking facial expressions, audience members might have rapid access to the performer’s intentionality. Given these findings, we argue the need for increased research and awareness on the role of visual cues in vocal pedagogy. Another issue we consider is whether training vocal control may interfere with visual expressiveness. To this end, preliminary data will be presented regarding the congruency of visual and auditory information in trained vs. untrained vocalists.
 

SUB-THEME: SUB-THEME: 1.3 AIRS TEST BATTERY OF SINGING SKILLS

** The AIRS Test Battery in Estonia **

Marju Raju (Estonian Academy of Music and Theatre) marju.raju@gmail.com

Abstract:

This presentation gives an overview of applying the AIRS test battery in Estonia. The first part of the presentation focuses on adapting the test items and instructions into Estonian and describing the testing process. During this spring 26 children with different musical background (ages 2-12) have been tested in Estonia. In the second part, a short overview of the preliminary descriptive analyses of the data will be given. The presentation is illustrated with video clips from the testing.

THEME 2 - SINGING AND EDUCATION

SUB-THEME: 2.1- LEARNING TO SING NATURALLY

** Theoretical, methodological, and empirical considerations in singing **

Stefanie Stadler Elmer (University of Zurich Switzerland) stefanie.stadler@access.uzh,ch

Abstract:

Singing is a universal and biologically based ability that develops parallel with speaking or even precedes it. From the viewpoint of a structural genetic constructivism, singing emerges from the earliest vocal play - and it is the earliest musical expression. The prolongation of vowels - one of the culture-free defining features of singing - creates the impression of singing. Originally, singing is accompanied with positive emotional states (e.g., wellbeing). Singing enhances social attachment, feelings of social belonging, but also the reverse, social exclusion, thereby coining cultural identity. In social contexts, vocal sounds become meaningful and are symbolized, both by producing and by listening. Singing, as music making, is play; however, to achieve conventionalized forms of using the voice, the child has to learn cultural specific rules. Vocal and musical behaviours are highly adaptive and constructive. Development is a construction of actions, starting with sensori-motor activities. Vocal development starts at birth, and gradually adapts to the cultural surrounding and its conventions concerning language, music, and social rules. The organization of the actions adapts to the environment, and gradually is internalized as mental structures. Actions and thoughts become more and more differentiated, controlled, and conscious. The child approaches vocal sounds to musical and linguistic symbols through playing and imitating. There are huge individual differences regarding the development of the musical potential. The developmental course is not age-related, but can be conceptualized according to newly emerging qualities in the organization of actions and thoughts. Hypotheses about the developmental sequence are outlined as consecutive stages. Empirical examples are given to illustrate aspects of development. They are based on acoustical analyses and include very early and spontaneous song singing at age 1;8 years, and song inventions and song acquisition processes from older children, e.g., 9 years of age.
 

SUB-THEME: 2.1 LEARNING TO SING NATURALLY

** Pitches and rhythms in songs of Brazilian children **

Beatriz Ilari (Federal University of Parana) beatrizilari@yahoo.ca and Vivian Agnolo Barbosa (Federal University of Parana)

Abstract:

Introduction: In spite of the great interest for Brazilian music in academic circles, little is known about the musical practices of Brazilian children. The few studies published to date have focused primarily on children who learn music in conservatories and special performance schools (a minority). Information on singing practices in naturalistic contexts is rare, although most Brazilian children do not have access to formal music education. The purpose of this ongoing study has been to document the singing practices of Brazilian children across the national territory.

Method: Using tools of qualitative research (interviews, field notes, audio/videotaping), the authors have been documenting children's singing practices in loco, in different parts of Brazil (e.g., in the Amazon, in a MST camp, in local schools).

Results: The analysis of musical components of a 49 songs suggest: (1) that songs by children living in communities that are heavily influenced by Afro-Brazilian musical traditions tend to be more rhythmic in nature, with fewer "exact" pitches; (2) that even when singing tonal songs, children seem to focus on rhythm and form, and not always on pitches; (3) for some musical genres (e.g., tambor de crioula), children seem to develop specific singing/performance techniques early on; (4) Movement and song seem to be intrinsically related.

Discussion: Results from the present study raise the question of how singing develops in children living in multicultural and hybrid cultures, like Brazilian culture. Examples will be presented at the conference along with implications for music education.

SUB-THEME: 2.1 LEARNING TO SING NATURALLY

** Accent on music in the study of children’s musical cultures **

Megan Perdue (University of Washington) megan.perdue@gmail.com Patricia Shehan Campbell (University of Washington)

Abstract:

Much research is dedicated to the assumption that children possess a distinct musical culture, which is transmitted orally and exists most obviously on the playground. The music created does not mimic adult music, but reflects the needs and values of children’s society. Children engage in musical play both spontaneously (singing, moving rhythmically, and playing) and through singing games involving hand clapping, mimetic movement, skipping (or jumping), counting out or elimination, and ball bouncing, usually occurring in pair, ring, or line formations. While many popular children’s playground songs have survived hundreds of years in the oral tradition, many songs learned in the classroom for a Winter Concert will have been forgotten by spring. With the exception of patriotic song, “the retention and circulation of songs learned from teachers appears to be greater when the songs are also presented by other sources in the child’s environment” (Harwood, 1988, p. 195) purpose of this research is to collect and contrast information on the musical content of fifty-five collected children’s songs, including elements of tessitura, range, rhythm and form. Issues of text, thematic content, gender, social structure, and movement will also be addressed in relation to these musical elements. This research discusses curricular implications of these songs’ analysis and the importance of connecting children’s musical culture and classroom culture.

SUB-THEME: 2.2 FORMAL TEACHING OF SINGING

** Intonation in SATB vocal ensembles**

Johanna Devaney (Schulich School of Music, McGill University) johanna.devaney@mail.mcgill.ca Jonathan Wild (Schulich School of Music, McGill University) Peter Schubert and Ichiro Fujinaga (Schulich School of Music, McGill University)

Abstract:

Introduction: We are interested in exploring how consistent professional singers are in their intonation practices. Specifically, we would like to explore how harmonic context impacts vertical and horizontal interval tuning. This paper describes an experiment we are currently undertaking on SATB ensemble performance.

Method: The participants in the experiment are four professional singers from the Montreal-area who specialize in early music and regularly sing together in an ensemble. The experiment consisted of two parts. In the first part, each singer came in individually and sang a series of pitches against a recorded sequence of tones. The recorded sequence was a random ordering of six tones; the six tones included three equal-tempered pitches and three pitches detuned by a ¼ tone. The singers were asked to sing a range of intervals (including the unison) both simultaneously and sequentially. In the second part, the singers came into the recording lab together and sang a number of exercises under the direction of the ensemble’s conductor. Te exercises were designed to present the same semitones and whole tones in different harmonic contexts in different voices.

Results: We are currently analyzing the results.

Discussion: We are planning to add a third part to the experiment, where the singers again come in individually and sing against recordings of the other parts. The musical material would be the same as the second part of the experiment and the recorded parts would be retuned to other tunings (Just, Meantone). This would allow us to see the influence of the tuning of the other parts on the individual singer. This intermediary stage between the single voice matching and the ensemble recording will be useful as it will allow us to control the tuning reference point for each singer in the ensemble context.

SUB-THEME: 2.2 FORMAL TEACHING OF SINGING

** How do singers manage vowels in relation to the laryngeal mechanism? An acoustic and linguistic inquiry **

Sylvain Lamesch (LAM-IJLRA, Paris) lamesch@lam.jussieu.fr Michele Castellengo (LAM-IJLRA, Paris) Boris Doval (LAM-IJLRA, Paris) and Luiza Maxim (LAM-IJLRA, Paris)

Abstract:

Classical singers are trained to use all the vowels regardless of their predominant tessitura and laryngeal vibratory mechanism. Comparatively, Yodellers generally choose a given set of vowels depending on the mechanism they use: M1 (chest voice) or M2 (falsetto). In order to explore the possible relations between the laryngeal source and the resonance cavities, we have undertaken an acoustical study of Voice Range Profiles (VRP) - using different mechanisms (M1 and M2) and vowels - as well as a linguistic investigation of the singers’ verbal productions. 21 male and female singers produced crescendos and decrescendos on /a/, /i/ and /o/, from C3 to C5, in mechanisms M1 and M2. We recorded the sound signal in order to compute the vocal dynamics. VRPs were obtained for each singer and for each vowel, in M1 and M2 separately. At the end, the subjects filled a questionnaire concerning the vowels they prefer to sing in M1 and in M2, respectively. The questionnaire prompted individual evaluations and comfort or technique related comments from singers. The analysis of the questionnaire showed that singers prefer singing /a/ rather than /i/ in M1, and inversely in M2. The study of the VRPs showed that the upper limit is 10 dB louder for /i/ than for /a/ in M1, but not in M2. Consequently the vocal dynamic range is larger for /a/ than for /i/ in M1, and it is larger on /i/ in M2 than in M1, if compared with the dynamic range for /a/. In M1, producing a given level on /i/ could require a higher subglottal pressure. The processed acoustical data provided us with elements, which in turn allowed us to interpret more accurately the singers' verbal descriptions.
 

SUB-THEME: 2.2 FORMAL TEACHING OF SINGING

** “Guru-sishya parampara”: a cultural examination of vocal pedagogical method in North India **

Hans Utter (Ohio State University) and Utpola Borah (Ohio State University) utpola@gmail.com

Abstract:

Introduction: Introduction and aim of contributing to AIRS Goals and Milestones India’s Guru-Sishya Parampara is a unique system of transmitting musical knowledge which can be traced back to the Vedic period (1st-6th centuries BCE). This oral tradition stresses embodied and experiential learning in formal and informal settings over a span of decades. This paper analyzes the processes of teaching and learning Indian vocal music through native and non-native viewpoints, examining the influence of culture-specific environments on cognitive and sensory modalities. We hope to contribute to AIR’s goals of understanding processes of singing and education, cross-cultural understanding, and the interrelations of perception and production of music.

Method: The culturally specific modes of teaching and learning Indian vocal music will be examined from the perspective of a native, professional vocalist and a Western-trained musician. Indian classical music employs a system of microtonal inflections that are often imperceptible to the Western ear, which only be taught orally. The impact of methods of teaching and learning in early childhood will be compared with resultant differences in pitch perception, voice cultural, and sensory perception.

Results: This paper will demonstrate how and why different music styles require distinct pedagogical methods, and offer some hypothesis as to how the gurusishya parampara utilizes innate human learning processes to transmit knowledge through an embodied process that simultaneously functions on multiple cognitive, kinesthetic, and emotional modalities. Finally, the possible cognitive and social implications of cross-cultural music acquisition will be examined.

Discussion: We hope to open dialogue on the how differing systems of teaching and learning offer a window both on culture and cognitive development.

SUB-THEME: 2.3 TEACHING THROUGH SINGING

** Singing voice and phonetic acquisition **

Sandra Cornaz (GIPSA Lab, Grenoble & Turin, University, Italy) scornaz@gmail.com Nathalie Vallee (CNRS Dept. 34) and Nathalie Henrich (GIPSA Lab, University of Grenoble)

Abstract:

Physical and vocal exercises adapted for speech and singing improvement are numerous and various. However, the field of language teaching does not often use those tools. Our research aims at a) highlighting the validity of a pedagogy based on those types of exercises - especially sung ones - of French as a foreign language (FFL); b) understanding how much and why singing, as pitches and duration variation in a temporal dynamics, would impact positively phonetic and phonological performance in a non native language. To reach this goal, two experimentations are developed: the first one is global and transversal while the second one is made of shorts and isolated tasks. The first experimentation consists in observing and analyzing, via regular recordings during a 9 hour phonetic correction, the progresses done by Italian native adults' speakers in French oral vowel perception and production. Half of them are involved in a traditional lesson of French phonetic; the rest of the group is taught the same base, plus additional exercises usually used for singing-voice practice. In the second experimentation, Italian subjects are not involved in French preliminaries or current lessons. They have to discriminate and product phonemes from dissimilar stimuli, among which the pitch and the duration can change but never the vowel. Both experimentations are in process. Nevertheless for the transversal experimentation, interesting results appear from the pilot study done in Italy. Learners who were taught with the common method with additional singing-voice exercises and specific tasks for singing practice reach higher competences at the end of the formation in French oral vowel discrimination and production. In the next months, the first experimentation will be tested on a greater number of subjects. The second experimentation, dealing with singing characteristics like duration and pitch, would let us know more about their shared or individual role for the language acquisition. Also, we hope to ascertain new factors for FFL phonetic acquisition when singing-voice and its practice become a main part of a didactical method for an Italian adult public.
 

SUB-THEME: 2.3 TEACHING THROUGH SINGING

** Can we teach vocabulary to preschoolers via singing? And more **

Jennifer Sullivan (St. Francis Xavier University) jfsulliv@stfx.ca

Abstract:

The AIRS battery is used to test young children to see the development of singing skill. However, research on singing is not only important for seeing how singing develops but also for seeing how singing can influence learning. The studies being conducted in the language and singing lab at St. Francis Xavier University are investigating the use of singing simple songs with children to enhance language development. We hope to see benefits from singing practice in both singing development and vocabulary development in typically developing children and in general expressive language skills in children with developmental delays.

THEME 3 - SINGING AND WELL-BEING

SUB-THEME: 3.1 SINGING AND CROSS-CULTURAL UNDERSTANDING

** An exploration of the learning and performance practices of song & dance in cross-cultural contexts **

Andrea Emberly (University of Western Australia) andrea.emberly@uwa.edu.au and Jane Davidson (University of Western Australia)

Abstract:

Ethnomusicologist John Blacking proposed that all humans have the potential to be musical. The current study has investigated his ideas by focusing on how songs and dances are transmitted within a cultural group and the ways in which the two forms are integrated in embodied learning. Specifically, the research explores the role of formal and informal education in perpetuating and sustaining the learning of songs and dances in a range of cultural contexts. Data from South Africa demonstrates that Venda children from the Limpopo Province learn songs and dances both within the formal school education system and informally in the community, as proactive means to safeguard musical traditions. It is expected in Venda communities that everyone participates and develops high-level competencies. In musical interactions, crucial social and cultural information not otherwise expressed is communicated through the teaching, learning and performance of song and dance. These musical practices in Venda culture persist across the lifespan, with transgenerational participation that relies on singing as a means to communicate culture and maintain tradition. In Australia our study traces children who auditioned to attend a specialist arts school in order to learn musical theatre practices - with its integration of song and dance - to focus on the attainment of professional performance excellence. The student efforts are focused for specialist performance outcome and are far less integrated into common cultural practice as in the case of the Venda. In Bali, all children learn traditional song and dance through school and in everyday village life, but as these individuals grow, specialization on the basis of talent is encouraged, and adult participation diminishes leaving only those with specialised training in song and dance performance roles. Together, these data have the capacity to expand understanding of how song and dance, and the intrinsic integration of the two forms, can be used as a means of transmitting crucial cultural values. The fundamental questions of this project explore themes across the AIRS research initiative with particular emphasis on Theme 2 - singing and education and Theme 3 ^ singing and wellbeing. Subtheme 2.1, with emphasis on learning to sing informally, informs particular aspects of this research project. The research is currently in progress with field data collected from South Africa, Australia and Bali.

SUB-THEME: 3.2 SINGING AND INTERGENERATIONAL UNDERSTANDING

** Intergenerational curricula, multimodal communication, and identity options: Findings from a study of an IG art program as a basis for a study of IG singing curricula **

Zheng Zhang (University of Western Ontario) Rachel Heydon (Western University) rheydon@uwo.ca

Abstract:

This poster reports on those aspects of a qualitative case study of an intergenerational (IG) art curriculum that could be relevant for the development of an IG singing curriculum. The goal of the research is to understand the constituents of successful IG curricula such that they can create expansive communication learning opportunities and identity options for young children and older adults. The study found that when compared to the adults, children’s communication and indentify options are less restricted, and IG curricula could address the need to keep these opportunities and options open throughout the life span through measures such as sustained, meaningful IG programs that focus on supporting participants’ facility with a variety of communicational modes and media. The findings of the art study are now being transferred to a study of the development and implementation of IG singing curricula which is making inquiries into at least three areas of IG singing programming: Intrapersonal characteristics: what is the relationship between communication options, interests, identity options, and their connection to young children’s and older adults’ well-being in the context of IG singing curricula?; Interpersonal factors: how are reciprocal relationships forged in and through IG singing curricula?; Systemic features: what structural, organizational supports are necessary for successful IG singing curricula, and how are larger social Discourses instantiated (and perhaps disrupted) within IG song and curricula?

SUB-THEME: 3.3 HEALTH BENEFITS OF SINGING

** Group singing, wellbeing and health: A systematic review **

Stephen Clift (Sidney De Haan Research Centre for Arts and Health, UK) Jennifer J. Nicol (University of Saskatchewan) jennifer.nicol@usask.ca Matthew Raisbeck (Sing for Your Life, Ltd, UK) Christine Whitmore (Public Health Directorate, NHS Eastern and Coastal Kent, UK) Ian Morrison (Sidney De Haan Research Centre for Arts and Health, UK)

Abstract:

Introduction: Group singing is one of the most widespread forms of active musical participation in the Western World (Chorus America, 2009); but, beyond its intrinsic value and associated pleasure, is there any evidence for real and measureable impacts on the health and wellbeing of those participating?

Method: A review of the existing research literature on group singing, wellbeing and health was completed by searching four databases (Medline, Embase, Psychinfo, Cinahl) using the primary search terms: singing, health, wellbeing, quality of life and music therapy. Strategies implemented to identify additional research included using Google Scholar, contacting authors, and searching reference lists in papers. Excluded from this review were studies concerned with individual singing, individual music therapy interventions involving singing, studies of song writing as a form of therapy, care-giver singing, and research in which singing was combined with other forms of music making or creative activity thus making it impossible to identify specific outcomes associated with singing. Given the developing nature of the field, the aim was to provide an overview of the range of work published without applying a stringent quality screen.

Results: A systematic approach to identifying published research in English from 1985 served to identify 51 papers reporting on 48 studies worldwide. Studies were categorised into four groups and details of objective, context, sample, method and findings were reported in tabular form. Most studies were conducted in English speaking and Nordic countries and reported from 2000 onwards.

Discussion: There is evidence of increased research interest in this field. However, many studies are small scale and exploratory, with only a few large-scale surveys and well-designed experimental studies. The diversity and variations in quality of the research corpus makes it difficult to draw evidence-based conclusions regarding the value of group singing for wellbeing and health. Nevertheless, there are indications that singing can be beneficial for psychological and social wellbeing, but less clear evidence of benefits for physical health.

SUB-THEME: 3.3 HEALTH BENEFITS OF SINGING

** Using singing to speak after stroke **

Dawn Merrett (University of Melbourne, Florey Neurosciences Institutes, BRAMS) dawnmerrett@gmail.com Isabelle Peretz (BRAMS & Universite de Montreal) Graeme Jackson (University of Melbourne & Florey Neurosciences Institutes) and Sarah Wilson (University of Melbourne & Florey Neurosciences Institutes)

Abstract:

Introduction: Previous research has shown that singing therapy may facilitate language recovery in individuals with language disorders, such as non-fluent aphasia, after stroke. Despite some evidence for the efficacy of singing, the mechanism(s) by which it might promote language recovery are still uncertain. To probe these issues, this project is investigating the influence of intensive singing training on brain organization and on mood, music, and language outcomes in a group of neurologically-healthy individuals and a group with non-fluent aphasia.

Method: Participants are given questionnaires to determine their hand preference, music and language background, medical history, and mood. Additional assessments include estimation of IQ, memory, attention, musical abilities, and verbal generation. Participants with language impairment also undergo a detailed investigation of language and speech function to fully characterize their language difficulties. Behavioural assessments are used to evaluate mood, music, and language abilities and functional Magnetic Resonance Imaging is used to assess patterns of neural activation both before and after singing training. Thirty hours of standardized training are delivered using a digital video-based program modeled on the principles of Melodic Intonation Therapy.

Results: While data collection is ongoing, behavioural results from a pilot participant with non-fluent aphasia showed objective improvement in phrase repetition ability and in the generation of trained phrases in response to questions, as well as clinical improvements in mood, attention, and use of verbal communication in daily life.

Discussion: This project will evaluate the influence of singing training on neural organization, mood, and behaviour. Broadly, it will provide insight into (1) explanatory mechanisms of singing therapy for language rehabilitation and (2) the interaction of music and language in the brain.

SUB-THEME: 3.3 HEALTH BENEFITS OF SINGING

** Mama Music: Promoting health and harmony in the lives of adolescent mothers and their infants with singing **

Jean Emmerson (University of Saskatchewan) jean.emmerson@usask.ca

Abstract:

Introduction: Mama Music is an investigation into the use of singing to promote health and harmony in the lives of adolescent mothers and their infants. Through both group and individual singing, we propose to facilitate infant social-emotional development, strengthen the mother-infant bond, and enhance adolescent mother coping ability. We expect to work with about ten youth and their infants for three to four months in this action research study. This research contributes to the AIRS project’s stated goals, and will provide a foundation for continued advancement of knowledge within theme 3.3. We also anticipate opportunities for cross-collaboration of ideas with themes 1 and 2.

Method: The study will utilize multiple methods (e.g., standardized measures, interviews, arts-based strategies) to describe and evaluate the program, which will involve a mother-infant group and a mothers-only group, developed and implemented in partnership with a Saskatoon secondary school that provides daycare facilities and youth parenting classes alongside traditional curricula. A variety of children’s songs will be taught to facilitate mother and infant connection and promote infant social-emotional skills, such as turn taking and interacting. The sessions for the mothers will focus on singing for health, e.g., songwriting and self-expression, favourite songs and personal identity, and singing for stress management and the fulfillment of emotional needs.

Results: Work in progress; research data collection anticipated to begin January 2011.

Discussion: Research reveals that adolescent motherhood is linked to poverty and a cycle of future adolescent mothers in poverty (Pogarsky, Thornberry & Lizotte, 2006). High schools offering these youth parenting classes along with traditional curricula and daycare facilities for their infants can help break this cycle (Deutscher, Fewell & Gross, 2006). The literature indicates support for the therapeutic use of music to reinforce adolescent coping skills and increase feelings of wellbeing (Saarikallio & Erkkila, 2007). Research also suggests that singing can strengthen mother-child bonging 9O’Gorman, 2007). As yet, no studies have examined the use of singing to enhance teen mothers’ health and increase harmony in their interactions with their infant. We plan to develop a model to connect these areas.

4. DIGITAL LIBRARY

** Building intelligent web-based audio tools for interacting with large collections of audio: Cantillion and Orchive **

George Tzanetakis (University of Victoria) gtzan@cs.uvic.ca

Abstract:

Advances in audio compression and storage technology have made possible the creation of large digital archives of audio. Interacting with such archives can be a daunting task as most existing audio tools are centered around processing individual audio recordings. Digital library tools provide support for large collection but mostly through meta-data and the corresponding audio is simply a file to be downloaded. In this talk I will describe our efforts in building intelligent, web-based audio tools for interacting with large collection of audio. More specifically, I will describe and demonstrate two projects: 1) Cantillion: an interface for analysis of religious chants and folk songs 2) Orchive: a large archive of hydrophone recordings with Orca vocalizations. These tools combine ideas from human-computer interaction and visualization with signal processing and machine learning to provide more effective interactions. I will finish my talk with how I envision such tools can be used to advance interdisciplinary research in singing.

4. DIGITAL LIBRARY

** Short Introduction to the PARADISEC database **

Kate Stevens (University of Western Sydney) kj.stevens@uws.edu.au

Abstract:

PARADISEC (Pacific and Regional Archive for Digital Sources in Endangered Cultures) offers a facility for digital conservation and access for endangered materials from the Pacific region, defined broadly to include Oceania and East and Southeast Asia. Our research group has developed models to ensure that the archive can provide access to interested communities, and conforms with emerging international standards for digital archiving. PARADISEC collaborates with the other groups to promote good practice in field documentation and digital archiving of endangered languages. At December, 2009 PARADISEC’s collection contains 2520 hours of digital audio and video files on 4.43 TB of disk space. A catalogue of this material is available at the link given in the right hand frame of this page. 614 languages from 60 countries are represented in PARADISEC’s collection.

5. STAKEHOLDERS

** The Vancouver International Song Institute- A nexus for change **

Rena Sharon (UBC/VISI) rena.sharon@ubc.ca

Abstract:

Introduction: The Vancouver International Song Institute (VISI), and AIRS-affiliated project, is internationally renowned for its groundbreaking interdisciplinary work with interpretation, pedagogy, performance, practice and research with a current specialization in the genre of Art Song. It is held annually in June at the School of Music of the University of British Columbia in Vancouver, Canada, with visiting faculty from top music institutes including Juilliard, Eastman, Guildhall, Centre de la Melodie Francaise, 10 Canadian Universities are represented at VISI, and its 50 university-level student participants come from across North America. VISI’s 2010 program included presentations by AIRS researchers Professors Darryl Edwards and Frank Russo.

Method: Over the past 4 years, VISI has functioned as an experimental environment for broad-spectrum interdisciplinary approaches to training for young artists, teachers, and scholars and an array of new practices in study and performance. The impetus for the creation of VISI was the advocacy of Art Song, a poetry-music fusion spanning thousands of years of global poetry in a repertoire comprising over 100’000 songs. The Art Song genre is currently at risk of acquiring “endangered species” status in North America, as evidenced thought sharp declines in concert attendance and diminished professional training programs. VISI’s researchers identify causes of attrition and explore new practices to generate renewal in this powerful artistic and historical legacy. In the search for solutions, VISI’s training programs are linked to SONGFIRE Theatre, a new multi-media production project for Art Song Theatre and Film emerging from work developed at UBC since 1986. This work is also linked to research on the relationship of gesture inhibition or free movement to vocal production, embodied interpretation, and audience perception of Art Song. The presentation offers a brief philosophical context for VISI’s SONGFIRE Theatre project and integrated studies for artists and scholars. As well, it will open discussion regarding the possible benefit of using annual VISI session for Pacific Coast AIRS workshops and meetings in diverse song-related Development, Cognition, and Well-Being themes. VISI currently hosts symposia for the Music therapy Association of BC, a Song Scholarship Retreat with links to humanities, workshops for the general public in Global Song Traditions, Vocal Improvisation and Choral Singing. VISI’s mandate is designed to expand encompassingly to accommodate and link relevant strands of research and creation.