AIRS Members Advancing Interdisciplinary Research in Singing (as submitted September 2008) Director Prof. Annabel J. Cohen, University of Prince Edward Island (Psychology), Canada Co-Investigators Dr. Harold Abeles, Columbia University (Teachers College), United States Dr. Mayumi Adachi, Hokkaido University (Graduate School of Letters), Japan Dr. Godfrey Baldacchino, University of Prince Edward Island (Sociology and Anthropology), Canada Dr. Steven Brown, Simon Fraser University (Psychology), Canada Dr. Patricia S. Campbell, University of Washington (School of Music), United States Dr. Lily Chen-Hafteck, Kean University (Music), United States Prof. Wladyslaw Cichocki, University of New Brunswick (French), Canada Prof. Stephen M. Clift, Canterbury Christ Church University College (Health & Social Welfare Studies), United Kingdom Dr. June Countryman, University of Prince Edward Island (Music), Canada Prof. Simone Dalla Bella, University of Finance and Management in Warsaw (Psychologia), Poland Dr. Darryl R. Edwards, University of Toronto (Faculty of Music), Canada Dr. Mike A. Forrester, University of Kent, Canterbury (Psychology), United Kingdom Dr. Bradley W. Frankland, Dalhousie University (Psychology), Canada Prof. Ichiro Fujinaga, McGill University (Music Research), Canada Dr. Martha A. Gabriel, University of Prince Edward Island (Webster Center for Teaching and Learning), Canada Dr. Mary L. Gick, Carleton University (Psychology), Canada Dr. Jane Ginsborg, Royal Northern College of Music (Research Center for Vocational Training of Musicians), United Kingdom Prof. Petra Hauf, St. Francis Xavier University (Psychology), Canada AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  1 Dr. Rachel M. Heydon, The University of Western Ontario (Faculty of Education), Canada Dr. Beatriz S. Ilari, Universidade Federal do Paraña (Deparmento de Artes), Brazil Mr. Mark A. Leggott, University of Prince Edward Island (Robertson Library), Canada Dr. Henrietta Lempert. University of Toronto (Psychology), Canada Prof. Felix F.M. Neto, University of Porto (Faculty of Psychology and Education Science), Portugal Dr. Jennifer J. Nicol, University of Saskatchewan (Educational Psychology and Special Education), Canada Prof. Lawrence O’Farrell, Queen’s University (Faculty of Education), Canada Dr. Susan A. O’Neill, The University of Western Ontario (Faculty of Music), Canada Prof. Isabelle Peretz, Université de Montréal (Psychologie), Canada Dr. Andrea M. Rose, Memorial University of Newfoundland (Music), Canada Prof. Jaan Ross, University of Tartu, Estonia Dr. Frank A. Russo, Ryerson University, Canada Prof. Rena Sharon, The University of British Columbia (School of Music), Canada Dr. Catherine J. Stevens, University of Western Sydney (MARCS Auditory Laboratories), Australia Dr. Lauren Stewart, Goldsmiths University of London (Psychology), United Kingdom Dr. Jennifer F. Sullivan, St. Francis Xavier University (Psychology), Canada Dr. Kati Szego, Memorial University of Newfoundland (Music), Canada Dr. Kate C. Tilleczek, Laurentian University (Sociology), Canada Dr. Laurel Trainor, McMaster University (Psychology), Canada Prof. Sandra E. Trehub, University of Toronto (Psychology), Canada Dr. Christine D. Tsang, Huron University College (Psychology), Canada Dr. George Tzanetakis, University of Victoria (Computer Science), Canada Prof. Graham F. Welch, University of London (Institute of Education), United Kingdom     2  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  Collaborators Dr. Betty A.V. Bailey, PEI Health Sector Council, Inc., Canada Dr. Carol A. Beynon, The University of Western Ontario (Faculty of Graduate Studies), Canada Dr. Chris M. Blanchard, Dalhousie University (Faculty of Medicine), Canada Dr. Ian R.M. Cross, University of Cambridge (CMS – Centre for Music and Science), United Kingdom Prof. Steven M. Demorest, University of Washington (School of Music), United States Ms. Teresa M. Doyle, Prince Edward Island Prof. Maija M. Fredrikson, University of Oulu (Education), Finland Dr. Martin F. Gardiner, Brown University (Center for the Study of Human Development), United States Dr. Helga R. Gudmundsdottir, Iceland University of Education, Iceland Madame Nathalie Henrich, Centre national de la recherché scientifique CNRS (Département des sciences l’homme et de la société), France Prof. David B. Huron, Ohio State University (School of Music), United States Dr. Michael E. Lantz, University of Prince Edward Island (Psychology), Canada Ms. Theresa A. Leonard, The Banff Centre (Music and Sound), Canada Dr. Psyche Loui, Harvard University (Harvard Medical School), United States Dr. Brian J. MacWhinney, Carnegie-Mellon University (Psychology), United States Dr. Esther Ho Shun Mang, Hong Kong Baptist University (Music), China Dr. Jean Mitchell, University of Prince Edward Island (Sociology and Anthropology), Canada Prof. Caroline Palmer, McGill University (Psychology), Canada Prof. Richard Parncutt, Karl-Franzens Universitat Graz (Faculty of Liberal Arts), Austria Dr. Leslie S. Phillmore, Dalhousie University (Psychology), Canada Dr. Janice Richman-Eisenstat, University of Manitoba (Faculty of Medicine), Canada Dr. Joan C. Russell, McGill University (Integrated Studies in Education), Canada AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  3 Prof. Gottfried Schlaug, Harvard University (Harvard Medical School), United States Dr. Sid-Ahmed Selouani, Université de Moncton (Campus de Shippagan), Canada Ms. Sung-Ha Shin-Bouey, University of Prince Edward Island (Music), Canada Prof. Stefanie Stadler Elmer, University of Zürich (Institute of Psychology), Switzerland Dr. Mira T. Sundara Rajan, The University of British Columbia (Faculty of Law), Canada Dr. Johan E.F. Sundberg, Royal Institute of Technology (Speech, Music and Hearing), Sweden Dr. Sten Ternström, Royal Institute of Technology (Speech, Music and Hearing), Sweden Prof. Caroline Van Niekerk, University of Pretoria (Music), South Africa Ms. Coralie Vincent, Centre national de la recherché scientifique CNRS (LPP – Laboratoire de Phonétique et Phonologie), France Dr. Bradley W. Vines, Department of Psychiatry, UBC, Vancouver BC Prof. Jiaxing Xie, China Conservatory (Chino Music Research Institute), China Partner Representatives Anne Alan, Confederation Centre of the Arts, PEI Canada Caitlin Cambell, Roland Canada Ltd., British Columbia Corrine Hendricken-Eldershaw, The Alzheimer Society of Prince Edward Island Steven Horne, Confederation Centre of the Arts, PEI Mike MacAdams, Extemporal Inc., PEI Marilyn McQueen, Grand Avenue Children’s Center, London, Ontario Maxine Miska, Soloway Jewish Community Centre, Ottawa, Ontario Rob Oakie, Music Prince Edward Island David Pedlar, Veterans Affairs, Canada Julia Pike, PEI Cultural Human Resources Sector Council Lee Willingham, Wilfred Laurier Centre for Music and Community, Ontario Canada     4  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  AIRS Program & Abstracts Advancing Interdisciplinary Research in Singing Development, Education and Wellbeing Major Collaborative Research Initiative (MCRI) 2nd Annual Conference August 22, 2010 Watertown Hotel In Conjunction with ICMPC11 Seattle, Washington AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  5 TABLE OF CONTENTS 1 AIRS MEMBERS 8 DIRECTOR’S WELCOME (ANNABEL J. COHEN) 10 MEETING SCHEDULE 11 TECHNICAL PROGRAM DETAILS ON PRESENTATIONS PRESENTATION ABSTRACTS & BIOGRAPHIES 14 14 15 16 17 18 18 19 20 21 22 24 25 26 26 28 29 29     6  Preference for natural singing voice in pitch-matching and sounds categorisation Yohana Leveque & Daniele Schön Development of singing: A critical review and directions for future research Rayna H. Friendly & Laurel Trainor Pitch perception processes underlying singing ability Amy Fancourt, Fred Dick & Lauren Stewart Influence of infants on maternal speech and singing Judy Plantinga, Sandra E. Trehub & Frank Russo On the importance of visual aspects of performance in vocal pedagogy Lisa Chan, Darryl Edwards & Frank Russo The AIRS Test Battery in Estonia Marju Raju Theoretical, methodological, and empirical considerations in singing Stefanie Stadler Elmer Pitches and rhythms in songs of Brazilian children Beatriz Ilari & Vivian Agnolo Barbosa Accent on music in the study of children’s musical cultures Megan Perdue & Patricia Shehan Campbell Intonation in SATB vocal ensembles Johanna Devaney, Jonathan Wild, Peter Schubert, & Ichiro Fujinaga How do singers manage vowels in relation to the laryngeal mechanism? An acoustic and linguistic inquiry Sylvain Lamesch, Michèle Castellengo, Boris Doval, & Luiza Maxim Guru-sishya parampara”: a cross-cultural examination of vocal pedagogical method in North India Hans Utter & Utpola Borah Singing voice and phonetic acquisition Sandra Cornaz, Nathalie Vallée & Nathalie Henrich Can we teach vocabulary to preschoolers via singing? And more. Jennifer Sullivan An exploration of the learning and performance practices of song & dance in cross-cultural contexts Dr. Andrea Emberly & Professor Jane Davidson 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 & Rachel Heydon Group singing, wellbeing and health: A systematic review Stephen Clift, Jennifer J. Nicol, Matthew Raisbeck, Christine Whitmore & Ian Morrison Using singing to speak after stroke Dawn Merrett, Isabelle Peretz, Grame Jackson & Sarah Wilson AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  31 32 32 33 Mama Music: Promoting health and harmony in the lives of adolescent mothers and their infants with singing Jean Emmerson Building intelligent web-based audio tools for interacting with large collections of audio: Cantillion and Orchive George Tzanetakis Short Introduction to the PARIDISEC database Kate Stevens The Vancouver International Song Institute – A nexus for change Rena Sharon 34 EVENING CONCERT PROGRAM 35 ARTIST BIOS AIRS SONGBOOK 38 39 40 41 42 42 42 43 44 45 We Are One Viva la musica Namana Karu Main Raga Khamaj Cibula Iye, Cibula Simama Kaa, Ruka Noponkhola One Voice Vindum, Vindum, Vefjum Band AIRS Round AIRS ANNUAL REPORTS – YEAR 1 46 48 50 55 57 60 62 62 64 67 69 Sub-theme 1.1 “Production and Perception” (Prepared by C.D. Tsang) Sub-theme 1.2 “Multimodal Analysis” (Submitted by Dr. Frank Russo) Sub-theme 1.3 “AIRS Test Battery” (Submitted by Dr. Annabel Cohen) Sub-theme 2.1 “Learning to Sing Informally” (Submitted by Dr. Patricia Campbell) Sub-theme 2.2 “Formal Training in Singing” (Submitted by Darryl Edwards) Sub-theme 2.3 “Learning Through Singing” (Andrea Rose and Jennifer Sullivan) Sub-theme 3.1 “Intercultural Understanding” (Submitted by Dr. Godfrey Baldacchino) Sub-theme 3.1 “Intercultural Understanding” (Submitted by Dr. Lily Chen-Hafteck) Sub-theme 3.2 “Intergenerational Understanding” (Submitted by Dr. Rachel Heydon) Sub-theme 3.3 “Singing and Health” (Submitted by Dr. Jennifer Nicol) Sub-theme “Students and Young Professionals” (Submitted by Andrea Emberly) AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  7 Welcome It is a great pleasure to welcome the AIRS Research Team to the 2nd Annual Meeting International Conference held this year in Seattle Washington, in conjunction with the 11th International Conference on Music Perception and Cognition (ICMPC11). We have much to celebrate and much to accomplish in this intensive program of August 22nd. Our gathering of experts uniquely focuses on challenging questions about singing as we address our three research themes: how singing develops in every individual, how to teach singing and how singing can be used to teach, and finally, how singing can enhance well-being of individuals, groups, and societies. The extraordinary opportunity before us arose through the co-operation of many individuals beginning with the collaborators who helped to create a winning proposal to the Social Sciences and Humanities Research Council (SSHRC) Major Collaborative Research Initiatives (MCRI) Program in 2008. SSHRC’s MCRI program enables planning for the long term and encourages working across disciplines. We remain grateful to the SSHRC Committee members and international external reviewers who saw merit in our proposal. A strong home base of support at UPEI was necessary for success in such a competition and the support of Dean of Arts Richard Kurial, Vice President of Research and Development Katherine Schultz, and President Wade MacLauchlan is acknowledged. The home team of collaborators at UPEI, from the disciplines of Music, Education, Island Studies, Sociology and Anthropology and the Library provided a foundation, which continues to grow. Gratitude must also be expressed to the partners who have offered to share responsibility in the support of this project. Each developed a formal letter of support for the AIRS project by the Labour Day weekend of 2008. Over the last year, I have appreciated the support of Deborah Annear as Project Manager-Finance, assisted by student Kristin MacDonald, and of Jonathan Lane, Technical Co-ordinator. Dale Sorensen has recently come on board to help with communications and greatly facilitated the creation of this program, and Robert Drew has been a continuing support for audiovisual technology, including music transcriptions. Almost two years ago we dreamed of coming together to advance interdisciplinary research in singing. This dream became a reality. The annual reports from the Research Teams, found in this Program Booklet, reveal that AIRS is breaking new ground in understanding how we learn to sing, how we can teach singing and teach through singing, and how we can improve lives of individuals and societies. As few highlights: • • • • • • • • • Creation of a viable set of testing materials for perception/production studies (Theme 1.1) Tests of audio and audiovisual models for vocal reproduction of musical intervals (Theme 1.2) Acquisition of pilot data of the preliminary AIRS Test Battery from several sites (Theme 1.3) Reviews of musical analysis of songs children sing (Theme 2.1) Initiation of DVD collection of formal voice training (Theme 2.2) Examination of the role of singing on vocabulary acquisition in preschoolers (Theme 2.3) Book publication contract for Island Songs (28 contributed articles in progress) Theme 3.1 Review of Intergenerational singing programs (Theme 3.2) Literature reviews of singing and well-being submitted for editorial review (Theme 3.3) These are but a few of the many accomplishments in just over a year of activity.     8  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  The AIRS researchers are sharing their knowledge with, and appreciating the knowledge of each member of our network. It is our challenge to work across disciplines and cultures. It is also one of our greatest strengths to be able to do this. In Seattle we will reflect on our goals as we work hard and play hard together, not only at our Annual Meeting but in the opportunities that arise through the remainder of the week at ICMPC11. The AIRS collaborators have come from far and wide: Australia, Brazil, Estonia, Great Britain, Iceland, Japan, Poland, Switzerland, United States and 7 Canadian provinces. The new AIRS travel policy provided support for students from all of the 9 research sub-themes. As well the AIRS student support program has funded research of students in each of the themes. While the majority of those supported are from Canada, students including recent post-doctorates, from other countries add their perspectives from India, France, Germany, China, and Tanzania to our meeting this year. Acknowledgement is due to Andrea Emberly for organizing the Student and Young Professional Group. Special recognition is directed to the AIRS Steering Committee: Frank Russo representing Theme 1 Development, Patricia Campbell representing Theme 2 – Education, and Jennifer Nicol representing Theme 3 – Well-being (with Mary Gick kindly taking on the position for Year1) with their tireless efforts in monthly or bimonthly meetings. This Committee has developed policy and steered the course of AIRS enabling the progress achieved by all. The remaining team leaders and co-leaders of the research subthemes also deserve much praise for the advances each has made with their group, including the involvement of student researchers, accomplishing the milestones one-by-one laid out to September, 2012, now just over 2 years away. AIRS benefits greatly from their participation of all the Research Team leaders and co-leaders in the Policy and Planning Committee which represents all facets of the project. A full meeting of this Committee precedes the AIRS Annual Meeting and will help to set the course for the year ahead. The morning of our Annual Meeting is devoted to an overview of the work of all of the Themes and Sub-themes with an opportunity for the members of the sub-themes within a Theme to meet together. The Technical Program in the afternoon Conference is replete with exciting new work representing all 9 subthemes plus the digital library group. The evening concert entails the participation of collaborators and students who will share songs in many styles and from many cultures. Throughout the entire meeting, opportunities to sing will remind us of the wonders of the activity that brings us all together from both an academic and phenomenal standpoint. To each of the many players in the AIRS project: welcome, thank you, and I wish you a most stimulating and fruitful time at this second AIRS International Conference. Our work is bearing fruits of the gifts we have been given. Annabel J. Cohen Director and Principal Investigator AIRS SSHRC MCRI AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  9 AIRS 2nd Annual Meeting ‐ August 22, 2010      8:00 – 9:00 Breakfast – Watertown Hotel and registration, pick up materials and name tag Posters can be placed 9:00 – 9:15 Welcome, introductions, and group singing, goals of the meeting Possible connection with Advisory Board Members Dr. Hilary Apfelstadt and Dr. Philip Smith 9:15 – 11:00 AIRS overview – Director’s overview (10 minutes) 9: 25 Theme 1: Frank Russo (5 minutes) 1.1, 1.2, 1.3 (presented by sub-theme leaders 7 minutes each – total 20 min) Laurel Trainor & Christine Tsang (1.1) Sandra Trehub & Frank Russo (1.2) Annabel Cohen (1.3) Discussion – 5 min 9:55 Theme 2: Patricia Campbell (5 minutes) 2.1, 2.2, 2.3 (sub-theme leaders – total 20 minutes) Patricia Campbell with Chris Roberts & Kedmon Mapena (2.1) Rena Sharon/Graham Welch (2.2 for Darryl Edwards and VISI) Jennifer Sullivan (2.3) Discussion – 5 min 10: 25 Theme 3: Jennifer Nicol (5 minutes) 3.1, 3.2, 3.3 (total 20 minutes) 3.1 Annabel Cohen (for Godfrey Baldacchino & Lily Chen-Hafteck) 3.2 Rachel Heydon 3.3 Jennifer Nicol Discussion – 5 min 10:55 Student-Young Professional Group – Andrea Emberley (5 minutes) 11:00 – 11:20 Coffee break and posters 11:20 – 12:00 Themes breakout (separate discussion with the 3 large themes 1, 2, and 3) 12:00 – 1:00 Lunch – sub-theme members are encouraged to meet and eat together at this time AIRS Technical Program 1:00 – 3:30 3:00 – 3:30 4:00 – 5:00 5:00 – 5:30 6:00 – 7:45 8:00 – 9:30     10  Talks: Themes 1 and 2; presented by sub-theme, i.e., 1.2, 1.3, 2.1, 2.2, 2.3 Poster and Nutrition break and posters Talks: Theme 3 (3.1, 3.2, 3.3), Digital Library and Stakeholders Plenary Session – focus on synergies. Review of goals to work on for Year 2 Dinner (Araya’s Place) Vocal concert of wide variety (Araya’s Place, continuing) AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  Technical Program Details on Presentations  1:00 – 5:00      THEME 1: SINGING AND DEVELOPMENT    NOTE: ORAL PRESENTATION ARE LIGHTNING TALKS AND OF NO MORE THAN  12‐15  MINUTES      1.1 PERCEPTION AND PRODUCTION – INTER‐RELATIONS    Posters  • Preference for natural singing voice in pitch‐matching and sounds categorisation  Yohana Leveque (Aix‐en‐Provence‐France) & Daniele Schön (CNRS‐France)  yohana.leveque@gmail.com    • Development of singing: A critical review and directions for future research  Rayna H. Friendly & Laurel Trainor (Department of Psychology, Neuroscience and Behavior, McMaster  University)  friendr@mcmaster.ca  • Pitch perception processes underlying singing ability  Amy Fancourt (Goldsmiths, University of London), Fred Dick (Department of Psychological Sciences,  Birkbeck College, University of London), & Lauren Stewart (Department of Psychology, Goldsmiths,  University of London)  a.fancourt@gmail.com    1.2 MULTIMODAL (AUDIO, VISUAL, AND MOTOR)  1:00‐1:15  • Influence of infants on maternal speech and singing  Judy Plantinga (University of Toronto), Sandra E. Trehub (University of Toronto/BRAMS), Frank Russo  (Ryerson University, Toronto)  judy.plantinga@utoronto.ca    Poster  • On the importance of visual aspects of performance in vocal pedagogy  Lisa Chan (Department of Psychology, Ryerson University), Darryl Edwards (Faculty of Music, University  of Toronto) & Frank Russo (Department of Psychology, Ryerson University)  lisa.chan@psych.ryerson.ca    1.3 AIRS TEST BATTERY  1:15‐1:30  • The AIRS Test Battery in Estonia  Marju Raju (Estonian Academy of Music and Theater)  marju.raju@gmail.com  THEME 2: SINGING AND EDUCATION – TEACHING SINGING AND USING SINGING TO TEACH    2.1  LEARNING TO SING NATURALLY          1:30 – 1:45  • Theoretical, methodological, and empirical considerations in singing  Stefanie Stadler Elmer (University of Zurich Switzerland)  Stefanie.stadler@access.uzh.ch    AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  11 1:45‐2:00  • Pitches and rhythms in songs of Brazilian children  Beatriz Ilari & Vivian Agnolo Barbosa (Federal University of Parana)  beatrizilari@yahoo.ca  Poster  • Accent on music in the study of children’s musical cultures.  Megan Perdue & Patricia Shehan Campbell (School of Music, University of Washington)   megan.perdue@gmail.com    2.2  TEACHING SINGING IN FORMAL SETTINGS INCLUDING FOCUS ON LIFESPAN          2:00 ‐2:15  • Intonation in SATB vocal ensembles  Johanna Devaney, Jonathan Wild, Peter Schubert, & Ichiro Fujinaga (Schulich School of Music, McGill  University, Singing and Education)  johanna.devaney@mail.mcgill.ca  2:15‐2:30  • How do singers manage vowels in relation to the laryngeal mechanism? An acoustic and linguistic  inquiry.   Sylvain Lamesch, Michèle Castellengo, Boris Doval, & Luiza Maxim (LAM‐IJLRA, Paris)  lamesch@lam.jussieu.fr  2:30‐2:45  • “Guru‐sishya parampara”: a cross‐cultural examination of vocal pedagogical method in North India  (Demonstration and explanation)  Hans Utter (Ohio State University) and Utpola Borah  utpola@yahoo.com    2.3  TEACHING THROUGH SINGING          2:45 – 3:00  • Singing voice and phonetic acquisition  Sandra Cornaz (GIPSA Lab, Grenoble & Turin, University, Italy), Nathalie Vallée (CNRS Dept. 34), &  Nathalie Henrich (GIPSA Lab  Department of Language Sciences, University Grenoble)  scornaz@gmail.com    Posters  • Can we teach vocabulary to preschoolers via singing? And more  Jennifer Sullivan (Psychology Department, St. Francis Xavier University, Antigonish, Nova Scotia)  jfsulliv@stfx.ca  COFFEE  BREAK   3:00 – 3:30  THEME 3: SINGING AND WELL‐BEING    3.1  SINGING AND WELL‐BEING:  CROSS‐CULTURAL UNDERSTANDING         3:30 – 3:45  • An exploration of the learning and performance practices of song & dance in cross‐cultural contexts  Dr. Andrea Emberly & Professor Jane Davidson (University of Western Australia, Perth)  andrea.emberly@uwa.edu.au      12  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  3.2  SINGING AND WELL‐BEING: INTERGENERATIONAL UNDERSTANDING    Poster  • 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 & Rachel Heydon (Faculty of Education, University of Western Ontario, London, Ontario)  3.3  SINGING AND WELL‐BEING: HEALTH           3:45‐4:00  • Mama Music: Promoting health and harmony in the lives of adolescent mothers and their infants  with singing  Jean Emmerson (University of Saskatchewan, Saskatoon)  jean.emmerson@usask.ca  4:00 – 4:15  • Using singing to speak after stroke  Dawn Merrett (University of Melbourne1, Florey Neurosciences Institutes2, BRAMS3), Isabelle Peretz (3 &  Université de Montréal), Grame Jackson(1,2), & Sarah Wilson (1,2)   dawnmerrett@gmail.com  4:15 – 4:30  • Group singing, wellbeing and health: A systematic review.  Stephen Clift (Sidney De Haan Research Centre for Arts and Health, UK1), Jennifer J. Nicol (University of  Saskatchewan), Matthew Raisbeck (Sing for Your Life Ltd, UK), Christine Whitmore (Public Health  Directorate, NHS Eastern and Coastal Kent, UK), Ian Morrison(1)  Jennifer.nicol@usask.ca    4. DIGITAL LIBRARY           4:30‐4:45  • Building intelligent web‐based audio tools for interacting with large collections of audio: Cantillion  and Orchive  George Tzanetakis (Dept. of Computer Science, University of Victoria, Victoria, BC)  gtzan@cs.uvic.ca  4:45‐4:50  • Short Introduction to the PARIDISEC database  Kate Stevens (MARCS, University of Western Sydney)  kj.stevens@uws.edu.au        4:50 – 5:00    Jonathan Lane (UPEI Technical Coordinator) jmlane@upei.ca  5. STAKEHOLDERS     5:00‐5:15  • The Vancouver International Song Institute – A nexus for change      Rena Sharon (UBC/VISI)  rena.sharon@ubc.ca  PLENARY SESSION  5:15‐5:45  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  13 AIRS 2nd Annual Meeting ‐ August 22, 2010    PRESENTATION ABSTRACTS & BIOGRAPHIES    In Order of Presentation      THEME 1: SINGING AND DEVELOPMENT    1.1 PERCEPTION AND PRODUCTION – INTER‐RELATIONS      Yohana Leveque (Aix-en-Provence-France) & Daniele Schön (CNRS-France) yohana.leveque@gmail.com Preference for natural singing voice in pitch-matching and sounds categorisation 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: poor singers were significantly helped by the human model. 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. Yohana Leveque: Speech Therapist Degree, Master's Degree in Language Sciences, currently PhD student in Language Science (Aix-en-Provence-France), supported by a grant of 3 years from the National Research Department. Daniele Schön: Ph.D. in Neuroscience, University of Trieste, Italy & University of Aix-Marseille II; Research Permanent Position at the Institute of Cognitive Neuroscience of the Mediterranean, CNRS, Marseille, France. Rayna H. Friendly & Laurel Trainor (Department of Psychology, Neuroscience and Behavior, McMaster University) friendr@mcmaster.ca Development of singing: A critical review and directions for future research Introduction - Singing, like speech, is a universal human behaviour. 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     14  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  understanding of children’s singing 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. Rayna Friendly is a PhD candidate from McMaster University’s department of Psychology, Neuroscience and Behaviour in Hamilton, Ontario. As a member of the Infant Auditory Lab, Rayna works under the supervision of Dr. Laurel Trainor: a leading researcher in the field of auditory development and music cognition and perception. Rayna has been singing in school choirs and small ensembles for over 10 years and is currently a member of McMaster University’s Vocal Ensemble. In her research, Rayna has extended on her interest of the voice, and of singing, by studying the development of voice discrimination during the first year of infancy, as well as the development of singing ability in young children. Rayna loves working in a field that allows her to combine her interests of psychology and music, and looks forward to interacting with the many vocal specialists at this year’s upcoming AIRS meeting! Amy Fancourt (Goldsmiths, University of London), Fred Dick (Department of Psychological Sciences, Birkbeck College, University of London), & Lauren Stewart (Department of Psychology, Goldsmiths, University of London) a.fancourt@gmail.com Pitch perception processes underlying singing ability 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 AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  15 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. Dr. Fred Dick: Senior Lecturer in The Department of Psychological Sciences, Birkbeck College, The University of London. Dr. Lauren Stewart is Senior Lecturer and Director of the MSc in Music, Mind and Brain in The Department of Psychology, Goldsmiths College, The University of London. Amy Fancourt has a BSc Honours in Psychology from Durham University, an MSc in Cognitive Neuropsychology from the University of London, Birkbeck College and is currently working towards a PhD in psychology at The University of London, Goldsmiths College. The focus of her PhD is to investigate music perception and cognition in children with atypical language development.   1.2 MULTIMODAL (AUDIO, VISUAL, AND MOTOR)      Judy Plantinga (University of Toronto), Sandra E. Trehub (University of Toronto/BRAMS), Frank Russo (Ryerson University, Toronto) judy.plantinga@utoronto.ca Influence of infants on maternal speech and singing 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 performances (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     16  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  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. Judy Plantinga is a postdoctoral fellow in Dr. Sandra Trehub’s Auditory Development Lab at University of Toronto. She earned her PhD in Psychology, Neuroscience, and Behaviour from McMaster University. Her main area of interest is the development of pitch perception and its relation to the development of music and language abilities. Web page: http://www.utm.utoronto.ca/11587.0.html Frank Russo is Assistant Professor of Psychology, Director of Psychological Science Training and Director of the Science of Music, Auditory Research and Technology (SMART) lab at Ryerson University. After earning his Ph.D. from Queen's University at Kingston (2002), he was awarded the Shaw Post-Doctoral Prize in Acoustics (Canadian Acoustical Association) and completed Post- Doctoral Fellowships in Music Cognition and Hearing Science. His research is situated at the intersection of music, mind and technology with current projects investigating multisensory integration, assistive technology, sonification, electrophysiological response, and the role of mimicry in communication of emotion (see lab website for more info, http://www.ryerson.ca/smart). He has published over 20 peer-reviewed articles and has delivered over 100 presentations. Other notable work includes consultation with U.S. and Canadian Departments of Transportation on Locomotive Horn Effectiveness, and co- invention of a sensory substitution technology supporting perception of music by deaf and hard of hearing individuals (Emoti-Chair). Frank currently serves on the editorial board of Psychomusicology: Music, Mind and Brain and the board of directors of the Canadian Acoustical Association and the Society for Music Perception and Cognition. After undergraduate studies in Economics and Philosophy, Sandra Trehub pursued graduate studies in Psychology at McGill University, receiving her doctorate in 1973. Since that time, she has been at the University of Toronto, where she is currently Professor Emeritus of Psychology. Professor Trehub has published extensively on auditory perception in infants and young children, infants' perception of music, and parents' songs to infants. Most of her research is conducted in her laboratory at the University of Toronto (http://www.utm.utoronto.ca/11558.0.html. From time to time, however, she visits isolated villages around the world to observe mothers' use of music in the course of child care. Lisa Chan (Department of Psychology, Ryerson University), Darryl Edwards (Faculty of Music, University of Toronto) & Frank Russo (Department of Psychology, Ryerson University) lisa.chan@psych.ryerson.ca On the importance of visual aspects of performance in vocal pedagogy 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 AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  17 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. Lisa Chan is a 2nd year M.A. psychology student at Ryerson University, specializing in music cognition and perception. She also holds an A.R.C.T. in both Piano Performance and Piano Teaching. Dr. Darryl Edwards, tenor, is Head of Voice Studies at the University of Toronto, and Artistic Director of the Centre for Opera Studies in Italy. Dr. Frank Russo is Assistant Professor of Psychology at Ryerson University. He currently serves on the board of directors of the Canadian Acoustical Association and the Society for Music Perception and Cognition.     1.3 AIRS TEST BATTERY      Marju Raju (Estonian Academy of Music and Theater) marju.raju@gmail.com The AIRS Test Battery in Estonia 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. Marju Raju is a doctoral student of musicology in Estonian Academy of Music and Theater. She has a M.Sc. in psychology (2007) from Tallinn University and a master’s degree in musicology (2008) from Estonian Academy of Music and Theater.       THEME 2: SINGING AND EDUCATION – TEACHING SINGING AND USING SINGING TO TEACH    2.1  LEARNING TO SING NATURALLY      Stefanie Stadler Elmer (University of Zurich Switzerland) Stefanie.stadler@access.uzh.ch Theoretical, methodological, and empirical considerations in singing 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,     18  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  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. Stefanie Stadler Elmer is an Associate Professor of Psychology at the University of Zurich and a lecturer at the Teacher Training University at Luzern, Switzerland. She teaches music and language development, and research methods. Since the early 1980s she has been doing research in Developmental and Music Psychology (Switzerland, Germany, USA). Her research has been supported by several grants and fellowships. She published two books (in German), Play and Imitation - Development of musical activities (2000), and Children Sing Songs - Cultivating one's Vocal Expression (2002) and many articles and chapters in German and English. Her main interests concern the development of singing and speaking, music and language in relation to the structured cultural environment. Beatriz Ilari & Vivian Agnolo Barbosa (Federal University of Parana) beatrizilari@yahoo.ca Pitches and rhythms in songs of Brazilian children 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. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  19 Beatriz Ilari holds degrees from McGill University (PhD), Montclair State University (MA) and University of São Paulo (undergraduate). She is currently co-editor of IJME-Research and Associate Professor of Music Education at the Federal University of Parana (UFPR) in Curitiba, Brazil, where she created and directed for 5 consecutive the program ""Musicalizacao Infantil"" for children 0 to 12. Her research interests include musical development, early childhood education, and the social psychology of music. Vivian Agnolo Barbosa graduated with honors from UFPR and is an early childhood educator. She teaches music for children in several schools in Curitiba and in the program Musicalizacao Infantil. She is also working towards a master's degree in early childhood education at the Catholic University of Paraná. Megan Perdue & Patricia Shehan Campbell (School of Music, University of Washington) megan.perdue@gmail.com Accent on music in the study of children’s musical cultures 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). The 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. Patricia Shehan Campbell is Donald E. Peterson Professor of Music at the University of Washington, where she teaches courses at the interface of education and ethnomusicology. She is the author of Songs in Their Heads (1998; 2010, 2nd edition), Musician and Teacher: Orientation to Music Education (2008), Tunes and Grooves in Music Education (2008), Teaching Music Globally (2004) (and co-editor with Bonnie Wade) of Oxford’s Global Music Series, Lessons from the World (1991/2001), Music in Cultural Context (1996), and co-author of Music in Childhood (2006, 3rd edition) and numerous publications on content and method of teaching the world’s musical cultures. She has lectured on the pedagogy of world music and children’s musical culture throughout the United States, in much of Europe and Asia, in Australia, New Zealand, South America, and South Africa. Her training is in Dalcroze Eurhythmics, as well as in piano and vocal performance, with specialized study in Bulgarian choral song, Indian (Karnatic) vocal repertoire, and Thai mahori. She serves on the editorial boards for Psychology of Music (U.K.), the Journal of Research in Music Education (U.S.), and Research Studies in Music Education (Australia). Campbell is a board member of Smithsonian Institution’s Folkways and the nationally syndicated weekly radio program, American Routes, and is Vice-President of the Society for Ethnomusicology. She coordinates university-community music partnership projects, including Music Alive! in the Yakima Valley, First Band at First Place School, the Laurelhurst Music Program, and musical exchanges at the Yakama Nation Tribal School. Megan Perdue recently earned her Master of Arts in Music Education from the University of Washington. She holds a Bachelor of Arts degree in music from the University of Oregon. Past presentations include posters at the 2010 College Music Society Northwest Conference and 2009 MENC Northwest Conference. Mrs. Perdue will     20  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  assume a position as a music teacher in the Ross Valley School District in San Anselmo, California, in August of 2010. As a performer, she has previously sung as a member of the University of Washington Chamber Singers, Oregon Bach Festival Chorus, Eugene Opera, Eugene Symphony Chorus, Divisi Women’s A Cappella, and the University of Oregon Chamber Choir and University Singers. Accompanying credits include the Oregon Bach Festival, University of Oregon Opera Ensemble, University of Oregon University Singers, and Oregon Children's Choir. She also sits on the board of Seattle Symphony's WolfGang and is an active member of MENC, CMS, ACDA, and IFCM.       2.2  TEACHING SINGING IN FORMAL SETTINGS INCLUDING FOCUS ON LIFESPAN      Johanna Devaney, Jonathan Wild, Peter Schubert, & Ichiro Fujinaga (Schulich School of Music, McGill University, Singing and Education) johanna.devaney@mail.mcgill.ca Intonation in SATB vocal ensembles 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. The 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. Johanna Devaney is a Montreal-based researcher focused on studying and modeling performance practice. She is currently working on her PhD in the Department of Music Research at the Schulich School of Music of McGill University, where she works with Ichiro Fujinaga and Jonathan Wild. Johanna holds an MPhil degree in Music Theory from Columbia University, where she worked with Fred Lerdahl and Dan Ellis, as well a BFA in Music and an MA in Composition from York University in Toronto, where she taught for several years in the areas of Digital Music and Music Theory. Johanna has published her research in the Journal of Interdisciplinary Music Studies and Ex Tempore and presented her work at numerous international and national conferences, including the International Conference on Music Perception and Cognition (ICMPC), the International Computer Music Conference (ICMC), and the annual meeting of the Society of Music Theory (SMT). She is a student member in both the Center for Research in Music Media and Technology (CIRMMT) and the International Laboratory for Brain, Music and Sound Research (BRAMS). Website: http://music.mcgill.ca/~devaney AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  21 Jonathan Wild is assistant professor at McGill University's Schulich School of Music, where he teaches theory, analysis and composition, and currently chairs the Music Theory Area. He holds a Ph.D from Harvard, and Bachelor's and Master's degrees from McGill. His publications and conference presentations include work on mathematics and music, historical and speculative tuning systems, chromaticism in late nineteenth-century music, post-tonal analysis, and computational music theory. He is also a sought-after composer, especially of vocal music--the Hilliard Ensemble regularly perform several of his works. Peter Schubert came to Montreal from New York City, where he founded and directed Opera Uptown and The New Calliope Singers, a group renowned for its commitment to modern music during its fifteen-year career. The group presented over fifty premieres and released a critically acclaimed CD entitled ""New Cantatas and Madrigals."" Since 1991, he has conducted the highly respected Montreal-based group, The Orpheus Singers. He founded VivaVoce, a professional ensemble, in 1998. That group won an Opus Prize and released a CD on the Naxos label. Schubert holds a Ph.D. in musicology from Columbia University, and is currently an Associate Professor at the McGill University Faculty of Music. Schubert is the author of a groundbreaking and highly regarded textbook, Modal Counterpoint, Renaissance Style (Oxford University Press, 1999, 2nd ed. 2008), and with colleague Christoph Neidhoefer he also co-authored Baroque Counterpoint (Prentice-Hall, 2005). Ichiro Fujinaga is an Associate Professor and the Chair of the Music Technology Area at the Schulich School of Music at McGill University. He has Bachelor’s degrees in Music/Percussion and Mathematics from University of Alberta, and a Master’s degree in Music Theory, and a Ph.D. in Music Technology from McGill University. In 2003–4, he was the Acting Director of the Center for Interdisciplinary Research in Music Media and Technology (CIRMMT) at McGill. In 2002–3, he was the Chair of the Music Technology Area at the School of Music. Before that he was a faculty member of the Computer Music Department at the Peabody Conservatory of Music of the Johns Hopkins University. Research interests include music theory, machine learning, music perception, digital signal processing, genetic algorithms, and music information acquisition, preservation, and retrieval. Sylvain Lamesch, Michèle Castellengo, Boris Doval, & Luiza Maxim (LAM-IJLRA, Paris) lamesch@lam.jussieu.fr How do singers manage vowels in relation to the laryngeal mechanism? An acoustic and linguistic inquiry 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.     22  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  After earning an engineering degree and a master degree (MSc) in musical acoustics, Sylvain Lamesch completed his doctorate in January 2010 in the field of singing voice acoustics. His goal was to study the relationship between a singer's perception of his or her voice and various aspects of the lyrical vocal technique, reinforcing these observations with acoustic correlates. More generally, Sylvain is interested in studying the relationship between the practice of singing and the acoustic descriptions of this art form. He himself is a musician (a classical guitar player and a tenor). He has presented papers at different international conferences as well as at summer-schools about the voice, acoustics, and interdisciplinarity. He is a member of the French society of acoustics. Since 2008, he has organized interdisciplinary half-day workshops on the singing voice. Website: http://www.lam.jussieu.fr/Membres/Lamesch/index.html Michèle Castellengo: Websites: http://www.lam.jussieu.fr/Membres/Castellengo/index.html http://www.med.rug.nl/pas/Conf_contrib/Castellengo/Castellengo_bio_touch... Education and professional experience - Music Teacher (secondary school); High degree in musicology (Sorbonne,1963). Doctor in Acoustics (1976, University Paris VI). Researcher at the CNRS (1982 - 2003). Professor of Musical Acoustics at the National Conservatory of Music in Paris. Head of the « Laboratoire d’Acoustique Musicale » (1983-2003). Presently Emeritus Director of research at the CNRS Research - Flutes and organ acoustics (thesis). Perception of musical sounds; musical cognition. Speech synthesis (1967-1973) and acoustics of singing voice: intelligibility and efficiency of singing voice, perception of short vibrated notes, vocal trill, diplophonic voice; vocal techniques related to laryngeal mechanisms (voix mixte, Iranian tahrir). Musical experience – Harpsichordist and organist. Papers 2009 – Roubeau B., Henrich N., Castellengo M., Laryngeal vibratory Mechanisms : the notion of vocal register revisited ; Journal of voice, 23 (4) p.425-438 2005 - Castellengo M. - Manuel Garcia jr, a clear-sighted observer of human voice production. Logopedics Phoniatrics Vocology, 30, p.163-170 2004 - Castellengo M., Chuberre., Henrich N., - Is Voix Mixte, the Vocal Technique Use to Smoothe the Transition across the two Main Laryngeal Mechanism, en Independent Mechanism ?; Proc. of the International Symposium on Musical Acoustics, Nara, Japan. Luiza Maxim, Ph.D. candidate in linguistics. http://www.lam.jussieu.fr/Membres/Maxim/index.html Areas of interest: • sensorial lexical descriptors • linguistic resources and strategies used to express sensations • analysis of expert and common sense discourse concerning sensorial knowledge • epistemic sources related to sensations (senses, expert knowledge, common sense) • social cognition, sensori-motor grounding of cognition. Thesis topic: My research consists of a linguistic analysis of data selected from interviews given by singing teachers around the notion of vocal quality and it focuses on the linguistic strategies used by subjects to construct their knowledge in situ. The analysis is carried out at multiple linguistic levels: semantic, epistemic, lexical, discursive, enunciative and prosodic. I also focus on the relation between the speaker and his/her object of expertise constructed discursively. While grounding my research in a linguistic framework, I refer to theories from epistemology and social cognition which deal with the collective, socially distributed character of different types of knowledge (scientific and sensorial, among them). Grants and teaching experience: 2010 – Temporary teaching position (ATER) at Paris 3 Spring 2008 Visiting scholar at the University of Massachusetts Amherst 2006-2009 Recipient of a PH. D. fellowship from the University of Paris 3 2008-2009 Graduate Teaching Assistant (Moniteur) at Paris 3. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  23 Hans Utter (Ohio State University) and Utpola Borah utpola@yahoo.com “Guru-sishya parampara”: a cross-cultural examination of vocal pedagogical method in North India (Demonstration and explanation) 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 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. Utpola Borah is an ethnomusicologist, educator, cultural archivist and performer of Hindustani (North Indian) Classical music. She completed her Ph.D. at the time University of Delhi, India. Utpola’s extensive research on the Bihu songs of Assam formed the basis of her book Bihu Festival of AssamMusic Dance & Performance (2005). Her varied experience at the Archive and Research Centre for Ethnomusicology (AIIS), the Indira Gandhi National Open University, and many other institutions has earned recognition as a scholar, educator and archivist in ethnomusicology, folklore, anthropology and Performing arts of India. Utpola is an accomplished Hindustani classical vocalist. She has been trained extensively in the traditional “ Gurukul” system under Dr. Prabha Atre. Utpola is an All India Radio and Doordarshan (National Televison) artiste and has widely performed the Khyal, Thumri, Dadra, Kajri, Holi, Chaiti, Barahmasa and Folk songs in India, Europe, and the United States. Hans Utter is currently a PhD. candidate in ethnomusicology at The Ohio State University. His current research focuses on the Imdad Khan Gharana, including a detailed study of Ustad Vilayat Khan’s sitar and vocal techniques. He has conducted research in cognitive ethnomusicology on entrainment with nonperiodic music. Hans has worked as a lecturer in musicology at Ohio State University, as a course writer, and as a visiting consultant at several universities. The AIRS project parallels his recent research into the neurophysiology of music performance He is the author of Trance, Ritual, and Rhythm: The Cult of Mahasu Deota in the Western Himalayas (B.R. Rhythms 2010). A disciple of sitarist Ustad Shujaat Khan, he has performed in America, Canada, Europe, and India.         24    AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  2.3  TEACHING THROUGH SINGING      Sandra Cornaz (GIPSA Lab, Grenoble & Turin, University, Italy), Nathalie Vallée (CNRS Dept. 34), & Nathalie Henrich (GIPSA Lab Department of Language Sciences, University Grenoble) scornaz@gmail.com Singing voice and phonetic acquisition 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. Sandra Cornaz is a PhD student in second year in the Department of Language Sciences of University Grenoble 3 (France) and in “Ricerca in Studi euro-asiatici : indologia, linguistica, onomastica in Linguistica, linguistica applicata e ingegneria linguistic” of Turin University (Italy). She is supervised by Nathalie Vallée and co-supervised by Nathalie Henrich and Antonio Romano. Since 2003, she is a teacher in French as a second and a foreign language, specialized on phonetics (Professional and Research Masters in French as a second and foreign language from the University of Grenoble 3, 2006 and 2008). Also, she sang many years in a semiprofessional children and teenagers choir (Opéra Junior in Montpellier) and later, she studied solo and ensemble music in a music school (Conservatoire à Rayonnement Régional in Grenoble). Her research project deals with the role of singing voice tasks in the field of a foreign language phonetic acquisition. Finally, she teaches linguistics, phonology and phonetics at Grenoble 3 University since 2008. She is a member of the Association Francophone de la Communication Parlée and the Association des Professeurs de Langues Vivantes-Langues Modernes. Nathalie Vallée (PhD in Language Sciences “Systèmes Vocaliques : de la typologie aux prédictions” from the University Grenoble 3, 1994) is a researcher of the French National Centre for Scientific Research (CNRS) in the Department n°34, (languages, language, and speech). Her research projects deal with emergence, morphogenesis, organization and functioning of sounds structures in the world languages. She makes typological analysis and phonetic experimentation; she observes universal systems and general tendencies in the way to understand how universal systems are linked with biological characteristics and parameters in speech production and perception. Furthermore, she teaches Phonology, Phonetics, Linguistics in various Universities in Grenoble. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  25 Nathalie Henrich (PhD in Musical Acoustics from the University Paris 6, 2001) is a voice researcher of the French National Centre for Scientific Research (CNRS, Department of Human and Social Sciences). She was educated as a researcher and teacher in Fundamental Physics. She specialized on human voice production in speech and singing. Her research projects deal with the physical and physiological characterization of various vocal techniques, such as Western lyrical singing, Sardinian Bassu singing, Bulgarian women’s singing, … She is also interested in vocal effort and vocal straining in speech and singing. She has worked on the development and improvement of non-invasive experimental techniques for human voice analysis, on perception and verbalisation of voice quality in singing, and on source-filter interaction in singing. Dr. Nathalie Henrich is a member of the French Acoustical Society (SFA), the European Acoustical Society (EAA), the French Phoniatrics and Communication Disorders Society (SFP&PaCo), the French Ethnomusicology Society (SFE), the COllegium MEdicorum Theatri (COMET). She is Associate Editor for Logopedics Phoniatrics Vocology (Taylor & Francis group). Jennifer Sullivan (Psychology Department, St. Francis Xavier University, Antigonish, Nova Scotia) jfsulliv@stfx.ca Can we teach vocabulary to preschoolers via singing? And more. 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. Dr. Jenny Sullivan is an Assistant Professor in the Department of Psychology in Antigonish, Nova Scotia.     at St. Francis Xavier University   THEME 3: SINGING AND WELL‐BEING    3.1  SINGING AND WELL‐BEING:  CROSS‐CULTURAL UNDERSTANDING      Dr. Andrea Emberly & Professor Jane Davidson (University of Western Australia, Perth) andrea.emberly@uwa.edu.au An exploration of the learning and performance practices of song & dance in cross-cultural contexts 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     26  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  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. Andrea Emberly completed her Ph.D. in ethnomusicology at the University of Washington in 2009 where she focused on the musical cultures of childhood in Venda and Pedi cultures in Limpopo, South Africa. Her dissertation explores the intersections of local, national and global influences on children’s musical cultures including community music making, handclapping games, school music curriculums and television programs. In addition to her work in South Africa, Andrea has conducted research on the use of music in children’s “edutainment”, specifically the program Sesame Street and its South African version Takalani Sesame. Andrea conducted field research in South Africa from 2005-2007 and recently returned to South Africa in 2009 to collect additional research as a part of the Communicative Human Musicality Project at the University of Western Australia where she is currently a Postdoctoral Research Fellow in the School of Music. Andrea’s interests in the AIRS Project stem from continuing collaborative research on children’s musical cultures, education and ethnomusicology with Patricia Campbell at the University of Washington and Caroline van Niekerk at the University of Pretoria as well as others passionate about the study of children’s music. Jane Davidson graduated with a Ph.D. in Music Psychology from City University, London in 1991. From 19911993 she was a Leverhulme Trust Postdoctoral Research Fellow. In 1993 she took up her first lecturing position at City University, London, moving on to University of Sheffield in 1995, to join a senior colleague in order to consolidate a research unit in music psychology and to instigate a masters program in music theatre studies. Between 1995-2005, Davidson was promoted at 3 yearly intervals to become a full professor. She joined the staff at The University of Western Australia in 2006 as the inaugural Callaway/Tunley Chair of Music. She is Research and Postgraduate Coordinator, Vocal Studies Coordinator and Director of the Callaway Centre, a significant research archive out of which she manages six funded research projects ranging from work on collections (specifically the ethnomusicologist John Blacking’s personal and research papers) to practical work such as developing a program to use music for health and wellbeing impact.                   AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  27 3.2  SINGING AND WELL‐BEING: INTERGENERATIONAL UNDERSTANDING      Zheng Zhang & Rachel Heydon (Faculty of Education, University of Western Ontario, London, Ontario) 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 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 identity 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? Zheng Zhang - In 1999, I started teaching English at a locally renowned international school and at the Central South University, China while I was doing my M.A. study in applied linguistics. In June 2002, I started working as a full-time English teacher at Shanghai University of Electric Power and was granted several professional awards afterwards. Drawing on my teaching experiences, I also coauthored several books related to English literacy development. I’m currently a PhD candidate at the University of Western Ontario. My research interests include biliteracy development, multiliteracies, transnational education, and family literacy programs for immigrant families. My previous research findings have been disseminated in the forms of journal articles and presentations at peer-reviewed conferences (e.g., Zhang, submitted, 2010a, 2010b, 2010c, 2009, 2008a, 2008b). Rachel Heydon, Associate Professor, Faculty of Education, The University of Western Ontario, is a former special education/literacy teacher. She coordinates the pre-service elementary language arts program and teaches graduate courses in curriculum theory and literacy. Her interests include language and literacy teaching, learning, and policy (particularly in regard to young children and other persons who are minoritized), intergenerational learning, disability studies, the development of curricula and educational and social policies that can lead to the improvement of children’s lives, and the development of curricula to support criticallyreflective teacher development. These interests are all firmly rooted in critical theory with its goal of emancipation. She has published two books, Early Childhood Curricula and the De-Pathologizing of Children (with Luigi Iannacci) and Constructing Meaning: Balancing the Elementary Language Arts (with Joyce Bainbridge and Grace Malicky), and published in a number of international journals including the Journal of Curriculum Studies, the Journal of Early Childhood Research, and Teaching and Teacher Education.           28    AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  3.3  SINGING AND WELL‐BEING: HEALTH      Stephen Clift (Sidney De Haan Research Centre for Arts and Health, UK1), Jennifer J. Nicol (University of Saskatchewan), Matthew Raisbeck (Sing for Your Life Ltd, UK), Christine Whitmore (Public Health Directorate, NHS Eastern and Coastal Kent, UK), Ian Morrison(1) Jennifer.nicol@usask.ca Group singing, wellbeing and health: A systematic review 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. Stephen Clift is a Professor in the department of Health, Wellbeing and the Family at Canterbury Christ Church University, UK as well as Research Director of the Sidney De Haan Research Centre for Arts and Health. Jennifer Nicol is a faculty member at the University of Saskatchewan, Canada as well as an Accredited Music Therapist and Registered Doctoral Psychologist. Dawn Merrett (University of Melbourne1, Florey Neurosciences Institutes2, BRAMS3), Isabelle Peretz (3 & Université de Montréal), Grame Jackson(1,2), & Sarah Wilson (1,2) dawnmerrett@gmail.com Using singing to speak after stroke 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, AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  29 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. Dawn Merrett completed a BSc in Psychology and Neuroscience at the University of Lethbridge in 2007, where she received the gold medal for science. She worked under the supervision of Dr. Gerlinde Metz with rodent models of motor recovery after spinal cord injury and stroke. Currently, Dawn is enrolled in the MPsych (Clinical Neuropsychology)/PhD program at the University of Melbourne in Australia, supported by an Endeavor International Postgraduate Research Scholarship. She is supervised by Sarah Wilson, Isabelle Peretz, and Graeme Jackson. She is also an Associate of the Royal Conservatory of Music and previously maintained a private teaching studio for 10 years. She has been heavily involved in music education and in the promotion of music and the arts in the community, particularly with community choirs, festivals, and music programs in assisted living facilities. Dawn is now exploring her interest in music neuroscience and the influence of active music making, especially singing, on brain and behaviour. Dr. Isabelle Peretz is a cognitive neuropsychologist and a professor of Psychology at the University of Montreal. She earned her Ph.D. in experimental psychology at the Université Libre de Bruxelles under José Morais in 1984. Dr. Peretz’s research focuses on the musical potential of ordinary people, its neural correlates, its heritability and its specificity relative to language. She has published over 150 scientific papers on a variety of topics, from perception, memory, and emotions to performance. Dr. Peretz is renowned for her work on congenital and acquired amusia and on the biological foundations of music processing. Her research has received continued support from the Canadian Natural Science and Engineering Council and the Canadian Institutes of Health Research since 1986. In 2004, The Université de Montréal earned her an endowed Casavant chair in neurocognition of music and in 2006, a Canada Research Chair in neurocognition of music. In 2005, Dr. Peretz became the founding co-director of the international laboratory for Brain, Music, and Sound research (BRAMS). In 2009, she was awarded Prix Justine & Yves Sergent, as well as Prix ACFAS Jacques Rousseau. She is a fellow of the Royal Society of Canada and of the American Psychological Association. Professor Graeme Jackson is the founder and director of the Brain Research Institute (now part of the Florey Neuroscience Institutes) and a neurologist at the Austin Hospital, Melbourne. He is a professorial fellow of the Department of Medicine Austin Health/Northern Health and an adjunct professor in the Department of Radiology at the University of Melbourne. He is internationally recognized as an expert and authority in new MR technologies, particularly in the field of animal and human studies of epilepsy. Graeme holds an honours degree in Psychology and a doctorate in Medicine. Dr. Sarah Wilson is a clinical neuropsychologist and an associate professor and reader in Psychological Sciences at the University of Melbourne. She is the only specialist music neuropsychologist in Australia. She established and directs the Music Neuroscience Laboratory in the Psychological Sciences department, where her     30  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  team conducts experiments across a range of auditory and music domains. Sarah has received numerous awards, successfully obtained competitive funding, and published widely, both within the music neuroscience field as well as in epilepsy and other clinical populations. Jean Emmerson (University of Saskatchewan, Saskatoon) jean.emmerson@usask.ca Mama Music: Promoting health and harmony in the lives of adolescent mothers and their infants with singing Introduction and aim of contributing to AIRS Goals and Milestones: 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 bonding (O’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 infants. We plan to develop a model to connect these areas. Jean Emmerson was a teenage muffin. Strange but true: in her younger days, she toured Canada and the northern States with the band Martha and the Muffins. She is now a PhD student carrying out research under the supervision of Jennifer Nicol at the University of Saskatchewan. Ms. Emmerson has two undergraduate degrees, one in music and another in education (BFA, York; BEd, U of T), a graduate degree in counseling psychology (MA, Chicago) and certificates in special education and language (U of Toronto). These studies have shaped and informed her 20+ years of work experience in a variety of educational settings. She anticipates completion of her studies by Spring 2012. Her interest in AIRS pertains to research examining singing as a means to promote health. Jennifer Nicol (PhD, MA, BMT, BofMus) is an Associate Professor at the University of Saskatchewan, Canada. She is also an Accredited Music Therapist and Registered Doctoral Psychologist. Her research focuses on the benefits of music, especially therapeutic benefits easily accessed and available for use in everyday life. Dr. Nicol is a co-investigator and team leader (Singing and Health) in the AIRS project. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  31   4. DIGITAL LIBRARY    George Tzanetakis (Dept. of Computer Science, University of Victoria, Victoria, BC) gtzan@cs.uvic.ca Building intelligent web-based audio tools for interacting with large collections of audio: Cantillion and Orchive 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 collections 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 collections 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. George Tzanetakis is an assistant Professor of Computer Science at the University of Victoria. He frequently teaches course in Music Information Retrieval and Multimedia Processing. He received his PhD degree in Computer Science from Princeton University and was a PostDoctoral Fellow at Carnegie Mellon University working on query-by-humming systems with Prof. Dannenberg and on video and audio retrieval with the Informedia group. In addition he was chief designer of the patented audio fingerprinting technology of Moodlogic Inc. He has consulted in audio and music related topics for companies including Nuance, Teligence and IVL. He is also the main designer and developer of Marsyas (http://marsyas.sness.net) a well-known open source software framework for audio processing with specific emphasis on music information retrieval. His research deals with all stages of audio content analysis such as feature extraction, segmentation, classification with specific focus on Music Information Retrieval (MIR). His work on musical genre classification received an IEEE Signal Processing Young Author award in 2004 and is frequently cited. He has presented tutorials on MIR and audio feature extraction at several international conferences. He is assistant editor of Computer Music Journal and was the chair of the Int. Conf. on Music Information Retrieval (ISMIR) in 2006. He is also an active musician and has studied saxophone performance, music theory and composition. Kate Stevens (MARCS, University of Western Sydney) kj.stevens@uws.edu.au Short Introduction to the PARIDISEC database 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 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.     32  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  Catherine Stevens is a cognitive psychologist who applies experimental methods to the study of auditory and temporal phenomena including music, dance, and environmental sounds. She holds BA (Hons) and PhD degrees from the University of Sydney and established the Australian Music & Psychology Society (AMPS). Kate is an Associate Professor in Psychology and is Associate Director of the Music, Sound, and Action group in MARCS Auditory Laboratories at the University of Western Sydney.     5. STAKEHOLDERS      Rena Sharon (UBC/VISI) rena.sharon@ubc.ca The Vancouver International Song Institute – A nexus for change Introduction: The Vancouver International Song Institute (VISI), an AIRS-affiliated project, is internationally renowned for its groundbreaking interdisciplinary work in 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 Française. 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 through 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 sessions 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. Rena Sharon is Professor of Collaborative Piano Studies at the University of British Columbia, founder and Artistic Director of the Vancouver International Song Institute (http://www.songinstitute.ca), and Artistic CoDirector of the Young Artist Experience Chamber Music program. An internationally renowned chamber music pianist, she has collaborated in concert and recording with many of the world's great musicians. Her passionate interest in the interface of arts, humanities, and science has lead to her participation in diverse interdisciplinary research projects and conferences. She is a past recipient of the UBC Dean of Arts Award, and a 2011 Distinguished Scholar in Residence at the Peter Wall Institute for Advanced Studies. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  33 AIRS 2nd Annual Meeting ‐ August 22, 2010    EVENING CONCERT PROGRAM  Hans Utter (sitar) and Utpola Borah • North Indian Music: Khayal in Raga Durga; Jhula Helga Guðmundsdóttir (not confirmed) • song of Iceland George Tzanetakis • songs of Greece Alicia Altass • songs from Atlantic Canada Kedmon Mapana • Music from Wagogo village in central Tanzania Sylvain Lamesch • Classical romantic melody from Reinaldo Hahn (in French) Dawn Merrett • music theatre song (a cappella) Jennifer Farrell • from the opera repertoire AIRS 2nd Annual Meeting ‐ August 22, 2010        34  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  ARTIST BIOS (in order of appearance)  Utpola Borah is an ethnomusicologist, educator, cultural archivist and performer of Hindustani (North Indian) Classical music. She completed her Ph.D. at the time University of Delhi, India. Utpola’s extensive research on the Bihu songs of Assam formed the basis of her book Bihu Festival of AssamMusic Dance & Performance (2005). Her varied experience at the Archive and Research Centre for Ethnomusicology (AIIS), the Indira Gandhi National Open University, and many other institutions has earned recognition as a scholar, educator and archivist in ethnomusicology, folklore, anthropology and Performing arts of India. Utpola is an accomplished Hindustani classical vocalist. She has been trained extensively in the traditional “ Gurukul” system under Dr. Prabha Atre. Utpola is an All India Radio and Doordarshan (National Televison) artiste and has widely performed the Khyal, Thumri, Dadra, Kajri, Holi, Chaiti, Barahmasa and Folk songs in India, Europe, and the United States. Hans Utter is currently a PhD. candidate in ethnomusicology at The Ohio State University. His current research focuses on the Imdad Khan Gharana, including a detailed study of Ustad Vilayat Khan’s sitar and vocal techniques. He has conducted research in cognitive ethnomusicology on entrainment with nonperiodic music. Hans has worked as a lecturer in musicology at Ohio State University, as a course writer, and as a visiting consultant at several universities. The AIRS project parallels his recent research into the neurophysiology of music performance He is the author of Trance, Ritual, and Rhythm: The Cult of Mahasu Deota in the Western Himalayas (B.R. Rhythms 2010). A disciple of sitarist Ustad Shujaat Khan, he has performed in America, Canada, Europe, and India. Helga Guðmundsdóttir is Assistant Professor in Music Education, Menntavísindasviði, Háskóla Íslands School of Education, University of Iceland who studies and supervises research in music education and musical development from birth to adolescence, with emphasis on musical sense, notation literacy, music education in schools, and children’s singing. She received her Ph. D. from McGill University. George Tzanetakis is an assistant Professor of Computer Science at the University of Victoria. He frequently teaches course in Music Information Retrieval and Multimedia Processing. He received his PhD degree in Computer Science from Princeton University and was a PostDoctoral Fellow at Carnegie Mellon University working on query-by-humming systems with Prof. Dannenberg and on video and audio retrieval with the Informedia group. His research deals with all stages of audio content analysis such as feature extraction, segmentation, classification with specific focus on Music Information Retrieval (MIR). His work on musical genre classification received an IEEE Signal Processing Young Author award in 2004 and is frequently cited. He is assistant editor of Computer Music Journal and was the chair of the Int. Conf. on Music Information Retrieval (ISMIR) in 2006. He is also an active musician and has studied saxophone performance, music theory and composition. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  35 Alicia Altass has lived and worked throughout the Maritime provinces but has always identified Charlottetown, PEI as home. For the past two years she has been living on the Island involving herself in as much theatre as possible while also getting some experience in the Child and Youth Care field. She had the experience of a lifetime playing Eva Peron in “Evita” at the Confederation Center and had a debut at the Victoria Playhouse. She holds a B.A. degree from Mount Alison University and is currently completing a graduate program at Mount Saint Vincent University. Kedmon Mapana is an Assistant Lecturer at the University of Dar es Salaam, Tanzania, Department of Fine and Performing Arts. He earned a Music Education Certificate from Butimba Teachers College, a BA in Music and a Master of Arts in Music from the University of Dar es Salaam. Currently, he is a doctoral student at Seattle Pacific University in curriculum and instruction with emphasis on music education and ethnomusicology. He is a dancer, singer, drummer, Gogo flute, kayamba and ilimba player, music performance organizer, choir director, scholar and community music teacher. From May to July 2006 and April to June 2007, Kedmon taught choral and dance workshops in schools and Lutheran churches in Sweden and Denmark. He is featured in a 15-minute documentary filmed in Denmark in 2008, “Kedmon Mapana in Denmark” (Milbo Media: MM-DOK 44005008). In July 2008, he led a group to Poland to perform and give workshops at a cultural festival in Wroclaw. He has presented invited academic papers at Africa University in Zimbabwe, University of Washington School of Music, and University of Dar es Salaam’s Ethnomusicology Symposium. He has published an article on his thesis research in the African Cultural Studies Journal (19(1) June, 2007:81-93). He was one of the Panelists for Teleconference for the Society of Ethnomusicology Annual Meeting 2008 at Wesleyan University-Africa. He has organized three large Wagogo cultural festivals between 2005 and 2010 featuring Gogo music and musicians from a number of villages in his home area: Chamwino Village in the Dodoma Region of Central Tanzania. Recipient of a 2009 fellowship award from Jubilation Foundation, Recipient of a 2010-2011 award from AIRS (Advancing Interdisciplinary Research in Singing, Canada) for research on Wagogo children's music, teaching artist for Smithsonian Folkways certification workshops. After earning an engineering degree and a master degree (MSc) in musical acoustics, Sylvain Lamesch completed his doctorate in January 2010 in the field of singing voice acoustics. His goal was to study the relationship between a singer's perception of his or her voice and various aspects of the lyrical vocal technique, reinforcing these observations with acoustic correlates. More generally, Sylvain is interested in studying the relationship between the practice of singing and the acoustic descriptions of this art form. He himself is a musician (a classical guitar player and a tenor). He has presented papers at different international conferences as well as at summer-schools about the voice, acoustics, and interdisciplinarity. He is a member of the French society of acoustics. Since 2008, he has organized interdisciplinary half-day workshops on the singing voice. Website: http://www.lam.jussieu.fr/Membres/Lamesch/index.html     36  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  Dawn Merrett completed a BSc in Psychology and Neuroscience at the University of Lethbridge in 2007, where she received the gold medal for science. She worked under the supervision of Dr. Gerlinde Metz with rodent models of motor recovery after spinal cord injury and stroke. Currently, Dawn is enrolled in the MPsych (Clinical Neuropsychology)/PhD program at the University of Melbourne in Australia, supported by an Endeavor International Postgraduate Research Scholarship. She is supervised by Sarah Wilson, Isabelle Peretz, and Graeme Jackson. She is also an Associate of the Royal Conservatory of Music and previously maintained a private teaching studio for 10 years. She has been heavily involved in music education and in the promotion of music and the arts in the community, particularly with community choirs, festivals, and music programs in assisted living facilities. Dawn is now exploring her interest in music neuroscience and the influence of active music making, especially singing, on brain and behaviour. Nova Scotian soprano Jennifer Farrell appears regularly with professional Canadian ensembles in the fields of oratorio, opera and choral repertoire. In western Canada Miss Farrell has performed as a soloist with the Vancouver Bach Choir, MusicFest Vancouver, the Vancouver Symphony Orchestra, Vancouver Voices, the Vancouver Opera, and the Royal Winnipeg Ballet. In eastern Canada she has appeared as a guest soloist with the National Youth Orchestra of Canada, Opera Nova Scotia and Les Jeunesses Musicales du Canada. While maintaining her solo career, Miss Farrell completed a Doctor of Musical Arts degree at the University of British Columbia in 2008. Jane Davidson graduated with a Ph.D. in Music Psychology from City University, London in 1991. From 1991-1993 she was a Leverhulme Trust Postdoctoral Research Fellow. In 1993 she took up her first lecturing position at City University, London, moving on to University of Sheffield in 1995, to join a senior colleague in order to consolidate a research unit in music psychology and to instigate a masters program in music theatre studies. Between 1995-2005, Davidson was promoted at 3 yearly intervals to become a full professor. She joined the staff at The University of Western Australia in 2006 as the inaugural Callaway/Tunley Chair of Music. She is Research and Postgraduate Coordinator, Vocal Studies Coordinator and Director of the Callaway Centre, a significant research archive out of which she manages six funded research projects ranging from work on collections (specifically the ethnomusicologist John Blacking’s personal and research papers) to practical work such as developing a program to use music for health and wellbeing impact. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  37 AIRS 2nd Annual Meeting ‐ August 22, 2010    SONGBOOK          38  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27                  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  39           40  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  SONG TEXT This is a traditional composition from Bhatkhande Kramik Pustak Malika-2Set in Raga Khamaj and 16 beat Rhythms cycle known as Tintala. There are a number of complex embellishments which are not included in the interest of simplicity. Here is a description of the raga: (note - Sa Re Ga Ma Pa Dha Ne Sa corresponds to Do Ri Mi Fa Sol La Ti Do, lower case indicates a flat, Aaroh/Avroh = ascending and descending). The alap is a basic outline of the melody (written w/out glissandos or microtonal inflections). Sthayee (first part of the composition) Namana karu main sadguru charana Saba dhukha harana bandita charana Antara (2nd or end of the composition) Sudha bhav dhara anta karana Suranara kinara bandita charana Meaning I bow down to my Guru (mentor)/who takes away all my sorrow Praying with emotional purity/brings all divine being together RAGA KHAMAJ AAROH / AVROH : S G M P D N S. | S. n D P M G R S PAKAD ( MUKHYANG - MAIN NOTES): G M P D n D , M P D , M G VADI (MAIN NOTE) – G SAMVADI (NEXT MAIN NOTE) - N TIME OF SINGING – SECOND PERIOD OF NIGHT RAGA KHAMAJ AALAP: 1. S G M P , G M P - , G M D - P - , D P G M G - , 2. G M G - , G M P D n D P , M P D G M G , M G R 3. G M P D N - , n D P - , P D N S. - S. n D P - , M P G - , M G R S 4. G M P D N - S. - , ( S. ) - n D P , P D N - S. 5. n D P D N - S. - , S. R. S. - , S. - n D P - , G M P 6. P D N S. - , S. R. S. - , P D S. R. G. - , M. G. R. S. D P M P D , G M G - n D P D N - S. - M G R S S D - , G M D N S. D R. n D P - Music from the Wagogo people of the Dodoma region of Tanzania. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  41 Game: Standing circle, with one leader. While the leader sings the call, all participants bounce the beat with both feet. All sing the response, while jumping towards the center of the circle, then back out again once the call is sung. The leader moves back and forth between the A section (line 1) and the B section (line 2), with as many renditions of each section as desired. The challenge comes for the responders, trying to figure out when to jump forward and chant “Matu,” because the caller can change whenever he or she wants.     42  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  One Voice (Ruth Moody, The Wailin’ Jennys) This is the sound of one voice One spirit, one voice The sound of one who makes a choice This is the sound of one voice This is the sound of voices two The sound of me singing with you Helping each other to make it through This is the sound of voices two This is the sound of voices three Singing together in harmony Surrendering to the mystery This is the sound of voices three This is the sound of all of us Singing with love and the will to trust Leave the rest behind it will turn to dust This is the sound of all of us This is the sound of one voice One people, one voice A song for every one of us This is the sound of one voice This is the sound of one voice Contributed by Lisa McLellan, 2009 http://www.metrolyrics.com/one-voice-lyrics-wailin-jennys.html AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  43     44  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  45 AIRS Annual Report Year 1 Sub-Theme 1.1 “Production and Perception” Prepared by C.D. Tsang (April 1, 2009 – March 31, 2010) Sub-Theme 1.1 Members: S. Dalla Bella S. Falk R. Friendly (PhD student) C. Palmer I. Peretz L. Phillmore C. Palmer G. Schlaug L. Stewart L. Trainor (co-Team Leader) C. Tsang (co-Team Leader) Year 1 Milestones and Deliverables A review of the singing development literature was conducted by R. Friendly (PhD student) and L. Trainor. This review was the basis for a conference presentation at the 1st Annual AIRS General Meeting in June 2009. A review paper is in preparation and we anticipate manuscript submission in late summer 2010. 1.1. Research by Members L. Stewart Student project: ‘A rehabilitation study of congenital amusia’ carried out by Susan Anderson, an MSc student on the Goldsmiths MSc in Music, Mind and Brain. This project will be written up and presented at a future AIRS meetings. L. Stewart Student project: ‘A study of pitch direction processing in children’ carried out by Amy Fancourt, an MSc student on the Birkbeck MSc in Neuroscience. A poster will be presented at the AIRS meeting in Seattle, as well as at ICMPC. Susan Anderson’s rehabilitation project may be extended but this will depend on obtaining funding. Sub-Theme 1.1. Year 1 Research Summary This first year has been a transition year in many ways for subtheme 1.1. A change in the leadership of the theme occurred in December 2009, with S. Brown leaving the project and C. Tsang joining L. Trainor as Theme Leader. This necessitated some change in the research direction of 1.1, and the newly developed research project focuses on the link between the development of the perception of singing and the production of singing. Much of the work from January to March 2010 was devoted to developing a coherent and viable research project that will yield significant and publishable data.     46  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  Pilot stimuli for our study examining the perception and production of singing in young children have been created. We are currently in the process of finalizing the testing protocols and preparing to begin pilot testing in a small population of 6-year-old children. L. Trainor has met with a local music education group working in a Hamilton area grade school and the principal of the school to arrange for testing of Grade 1 students in a singing perception and production test battery. A further meeting with the teachers of the students will be held in September 2010. We anticipate the start of pilot testing to begin in August through September, 2010, with the beginning of actual data collection to begin in October, 2010 in a group of Grade 1 children in a Hamilton area grade school. Another parallel study with JK/SK children in a local London area pre-school may also begin in the fall subject to institutional approvals. This research project has the possibility of becoming a longitudinal study (pending renewal by the school and teachers involved). Thus, the creation of a viable set of testing materials in Year 1 was a vitally important first step. If the study proceeds as planned, we should be able to have data ready for dissemination by summer 2011 (Year 3), most likely in the form of conference presentations initially, eventually leading to published manuscripts in future years. We acknowledge that we have not been overly successful in involving many members of the research sub-theme in our research discussions. However, we hope that with the establishment of a viable set of stimuli and testing protocols in this first year, this will make it easier for other theme members (and other AIRS themes) to participate and/or contribute to the research in future years. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  47 AIRS Annual Report Year 1 – Sub-theme 1.2 “Multimodal Analysis” (April 1, 2009 – March 31, 2010) Submitted by Dr. Frank Russo Projects based in greater Toronto area, Canada (University of Toronto at Mississauga and Ryerson University) 1. Auditory and visual perspectives on maternal speech and singing in different contexts (infant in view, out of view, or presented on video). Students working on this project: Judy Plantinga (postdoctoral fellow) will submit an abstract and present a summary of this study-in-progress. She will continue working on this project. Other students currently working on the project: Sari Park (B.A. student, Guelph U), Sara Oczak (B.Sc. student, UTM), Amy Kleynhans (B.A. Student, Ryerson). 2. Age-related changes in vocal reproduction of intervals (ascending and descending perfect fifth) with different auditory models (voice, piano, flute) and auditory (vocal) vs. auditory-visual models. Students working on this project: Judy Plantinga (PDF, U of T Mississauga), Lily Zhou (B.Sc. student, McMaster), Lisa Chan (M.A. Student, Ryerson). Judy Plantinga and Lisa Chan will continue on the project. 3. Age-related changes in singing proficiency for familiar songs (instrumental analysis of materials from Adachi & Trehub (1998) Students working on this project: Judy Plantinga (PDF, U of T Mississauga), Lily Zhou (B.Sc. student, McMaster), Jordan John (B.Sc. UTM), Nami KOYAMA (Master's student, Hokkaido University). Judy Plantinga will continue on the project. 4. Pitch and interval reproduction as a function of age, choral experience, and interval conventionality Student working on this project: Beste Kalender (Ph.D., U of T) is leading this project and it will form her doctoral dissertation. 5. Case study of singing by a 5-year-old child with cochlear implants Student working on this project: Anna Volkova (Ph.D., U of T). Anna will continue on the project. 6. Infants' responsiveness to sung vs. spoken lyrics of songs Student working on this project: Marieve Corbeil (Ph.D., Brams, U de M, co-supervised by Isabelle Peretz) is leading this project and it will form part of her doctoral dissertation. 7. Effectiveness of song vs. speech to regulate emotion in infants: Niusha Ghazban (Ph.D., Ryerson); Lisa Chan (M.A., Ryerson). Both students will continue with this project. 8. Electromyographic assessment of mimicry in song perception: Lisa Chan (M.A., Ryerson). Different aspects of this work will be presented at AIRS and ICMPC and will form Lisa's master's thesis. Lisa plans to continue with singing-related work for her dissertation.     48  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  Projects based in Hokkaido, Japan (Hokkaido University) 1. An experiment was conducted using Canadian children's original happy/sad tunes to examine whether children's intended emotions were communicated to Japanese adult listeners. Data collection is in progress: Yo NAKANISHI, an undergraduate student at Hokkaido University. 2. Adult interpretation of infant babbling as speech or singing. Data was collected from 86 college students (both men and women) about their interpretation of baby babble (to be presented at ICMPC11), and will collect data from Japanese fathers this Fall/Winter. Additional data will be collected from Chinese students as a pilot for a possible cross-cultural study of babble interpretation: Xing Xing DING, a Chinese research student at Hokkaido University. She may continue on as a master's student. Projects based in Nova Scotia, Canada (St. Francis Xavier University) Dr. Hauf's Infant Action & Cognition Lab at St. Francis Xavier University is investigating the responsiveness of 5- to 7-month old infants to video displays of infant-directed (ID) singing and speaking. Stimuli are presented on an eyetracking screen. In addition to eye tracking, measures include body movements, vocalization, and heart rate: Tricia Brosha (4th year Bachelor of Arts - Honours in Psychology student, St. Francis Xavier) is currently working on this project and will continue to be involved throughout the year as she uses a portion of the project for her Honour's thesis to be completed by April, 2011. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  49 Theme 1.3 AIRS Test Battery (April 1 2009 – March 31, 2010) Submitted by Dr. Annabel Cohen 1. AIRS Test Battery Date: July 25, 2010 2. Name of investigator(s) and affiliation Mayumi Adachi – Psychology, Hokkaido, Japan (also 1.2) Annabel Cohen – UPEI, Charlottetown and Team Leader 1.3 Simone Dalla Bella – Psychology, Poland (also 1.1) Simone Falk – Germany Mike Forrester – University of Kent, UK Helga Guðmundsdóttir – Music Education, Iceland (also 2.1) Nathalie Henrich – France (also 1.1, 1.2 and 2.3) Esther Mang – Hong Kong Baptist University (also 2.1) Anick LeMarche – AIRS Post-doc until end of August Psyche Loui – Harvard Medical School & BIDMC (also 3.3) Jaan Ross – Music, Estonia Gottfried Schlaug – Harvard Medical School and BIDMC (mainly 3.3 – health) Rena Sharon – Music, UBC, Vancouver (also 3.3, and 1.2) Stefanie Stadler Elmer – Psychology, Zurich, Switzerland Christine Tsang – Psychology, London Ontario (also 1.1 – Team Leader) Jennifer Sullivan – Psychology, St. FX Antigonish, NS (also 2.3) Coralie Vincent – Laboratory of Phonology and Phonetics, CNRS, Paris (also Digital Library) 3. AIRS Milestones for Year 1 Activity 1. Review of longitudinal singing tests Develop model; pilot tests across lifespan Pilot tests across lifespan Deliverables a) Presentations & b) Publications Initiate longitudinal data at various lifespan starting points Extend to different Canadian contexts AIRS Milestones for Year 2 with Year 3 and 4 continuing Revise tests for cultural contexts of China, Kenya, China, and Canada Pilot tests across 3 countries and lifespan ages Extend data collection to 3 countries Test 3 times per year Extend to other countries Analyze, notate, transcribe, move to DL Develop comprehensive battery for singing Test in 3 countries: e.g., Iceland, Germany, Estonia ability across countries & age Develop preliminary model of cultural influence Preliminary model of cultural/individual effect on on singing ability singing     50  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  x x x 4. Goals of AIRS addressed: Team meetings were held at the Inaugural meeting in PEI and by teleconference on December 16th. The teleconference led to discussion of each of the 11 components of the battery. It was decided that each needed special discussion beginning at the 2nd AIRS Annual Meeting (Seattle, August 22nd, 2010) and extended during a free time at the immediately following ICMPC (tentatively, Wed., August 25th) in order to finalize a common protocol to be used starting September 2010. At present those from 1.3 to attend the 2nd Annual meeting are: Mayumi Adachi, Simone Dalla Bella, Simone Falk, Helga Guðmundsdóttir, Jaan Ross, Rena Sharon, Stefanie Stadler Elmer, Christine Tsang, Jennifer Sullivan, and Annabel Cohen as well as several students such as Madhu Raju. Note: although Psyche Loui cannot attend in Seattle, she is visiting UPEI as a keynote for the AIRS regional conference August 12th and will provide feedback on the battery at that time, to be passed on to the Seattle meeting. UPEI had initiated the work on the battery as a proof of concept prior to submission of the AIRS proposal and this work continued. The first data included tests of 4 children of ages 3, 5, and 7 years and university students with and without music training. Each were tested 5 times at monthly intervals producing approximately 100 video recorded sessions. In addition 4 older adults (age 70 – 81 years) and 6 persons with Alzheimer’s disease were tested each twice with one exception. This first protocol used a piano model. In September 2009 an new study entailed 8 North American students and 8 Chinese students, and another study began with 8 4 -5 year olds and 8 University students tested once. In the laboratory of Jenny Sullivan at St. Francis Xavier University, 6 3-year olds and 6 4-year olds were tested each twice. The second protocol used a vocal model (Lisa McLellan, summer intern 2009). Some additional preliminary work was carried out in Estonia (Jaan Ross/ Marju Raju). A thesis was completed by Lisa McLellan at Bates comparing use of her own live singing versus a recording of her voice. She learned that the recording was more effective than expected. Subsequently, groundwork in Poland (Simone Dalla Bella) is being established. Note: From April - August, Anick Lamarche in the position of AIRS PDF at UPEI has been working on the test battery in regard to standards for audiovideo recording protocol. She has also tutored 4 visiting undergraduate students on the AIRS test battery, measurement using Stefanie-Stadler Elmer’s technique and she herself has used Praat. She will also create an improved vocal model with child, male, and female voice. However, as this activity occurred during Year 2, it is not detailed further here. Student funding of $6000 obtained for year 1 (smallest amount of all sub-themes) was used to establish the foundation for the battery and assist doctoral thesis work if possible and was distributed to UPEI and Estonia for this purpose. Funding for students in Year 2 of $15000 was obtained for distribution to students in Boston US, Estonia, Iceland, Japan, Switzerland, Poland, St. FX, UK, UPEI, and lesser amounts to Kenya, Canada, China, Brazil (in conjunction with 3.1). 5. Contribution to AIRS goals over the past year(s) of the project - distinguishing incremental (would only occur with AIRS funding or initiative) vs would occur anyway* Refereed Publications: Refereed Book Chapters/ Conference Proceedings in a Book: Berkowska, M. & Bella, S. D. (2009). Reducing linguistic information enhances singing proficiency in occasional singers. The Neurosciences and Music III – Disorders and plasticity: Annals of the New York Academy of Science, 1169, 108-111. (activity begun prior to award but published after the award) Cohen, A. J., Armstrong, V., Lannan, M., & Coady, J. (2009). A protocol for cross-cultural research on acquisition of singing. Neurosciences and Music III-Disorders and Plasticity: Annals of the New York Academy of Science, 1169, 112-115. (activity begun prior to award but published after the award) AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  51 Cohen, A. J. Creativity in singing: Universality and critical developmental periods? (in revision). In David Hargreaves, Dorothy Miell, and Raymond MacDonald (Eds.) Musical creativity: Multidisciplinary perspectives. Oxford, UK: Oxford University Press Development of Creativity in Singing. Oxford University Press. Presentations: Presentations in Year 1 were by the UPEI made at the AIRS inaugural meeting, Canadian Acoustical Association (Oct. 2009, Niagara-on-the-lake symposium on Theme 1), Canadian Conference on the Arts (Dec., 2009, Toronto), Educating the Creative Mind (March, Kean College, 2010, Conference organized by Lily ChenHafteck) Presentations in Year 2 were made by the UPEI group at the Canadian Developmental Psychology Conference (May, 2010 Ottawa, with Mary Gick, and Jennifer Sullivan), Canadian Psychological Association (June, 2010, organized symposium on music and psychology), and the Canadian Society for Brain Behaviour & Cognitive Science (June, 2010, Halifax, with Lexy McIver, Anick Lamarche, presenter Anick Lamarche), by Simone Dalla Bella at a Symposium on Language and Music at Middlesex University (as reported by Michael Forrester), and by Jennifer Sullivan at the AIRS Workshop, August 2010. Honours theses: Jenna Coady – UPEI 2009 Marsha Lanna – UPEI 2009 Emily Gallant – UPEI 2009 Lisa McLellan – Bates College 2009 Lexy McIver – UPEI 2010 One student from St. Francis Xavier, 2010   6. Project Description (based on summary for the Policy and Planning Committee & AIRS Milestone document): This sub-theme focuses on the gross assessment of development of singing leading to a comprehensive model of singing acquisition taking individual, culture, and universals into account. An 11-element test battery was developed at UPEI by Annabel Cohen in conjunction with 2 honours students (Marsha Lannan, Jenna Coady), and with a third (Emily Gallant) the battery was piloted in longitudinal and age cross-sectional designs. In 2009 two further honours theses at 2 universities commenced, and a doctoral student in Estonia will begin work with Jaan Ross and Stefanie Stadler Elmer (Zurich). An aim is to connect with 3.1 Cross-cultural understanding in order to obtain data on singing development in the four contrasting countries (Canada, Brazil, Kenya, China) in which attitudes to non-native persons is to be improved through song and cultural sharing. We expect to use a new algorithmic process of doctoral student Johanna Devaney (McGill) to increase the efficiency of pitch analysis. Information will be shared virtually (via a digital library, and web-site) across cultural and academic background, and career stage within and across countries Students will be provided enormous opportunities to be in contact with peers, experts, and cultural contexts, and to learn about analysis of singing, and the workings of a digital repository. One challenge is the overwhelming richness of the data. Another is to finalize the protocol and to develop specific training protocol so as to "really" start collecting data. The constituency aims to collect the data across ages, cultures, and time, and to take advantage of the temporal and global scope of the grant. Theme 1.3 will populate the digital library with examples of the     AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  52  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  components of the test battery from longitudinal and cross-sectional studies. Within Theme 1, there should be discussion with 1.1 which will be conducting more refined tests than 1.3; there should be discussion with 1.2 which will be conducting focused research on the audiovideo relations in singing. The data from 1.3 should reveal constraints on natural song acquisition as discovered by 2.1, should show effects of training (2.2), and provide a foundation for what can be learned through singing (2.3). 1.3 will inform 3.1 in regard to what aspects of singing style may be resilient and what level of song complexity is appropriate for teaching songs of nonnative cultures. The opportunity of a 7 year grant (including 1st year pilot) enables collection of longitudinal, crosscultural data and exploring mental health status, and role of musical training. Collaborators from many cultures and continents, with access to open-source teleconferencing an interactive web-site. digital repository and associated staff supporting it at UPEI and McGill maximizes progress. 7. Student(s) involved, their level of degree and home university Students in Year 1 were: 1) Lexy McIver – Honours Psychology, UPEI 2) Honours Psychology, St. Francis Xavier 3) Alison Lawlor – Special Studies, UPEI – admitted to Speech Pathology Masters, U of T 4) Emily Bradley – Special Studies, UPEI – admitted to Speech Pathology Masters, Dalhousie University 5) Marju Raju – doctoral student, Estonia – under supervision of Jaan Ross and Stefanie Stadler-Elmer Students involved (Year 2, 2010): 1) St. FX 2) Kristin MacDonald, undergraduate UPEI 3) Martha Lannan, Masters Level graduate student Dalhousie/former UPEI honours student 4) Anick Lamarche, PDF AIRS April – August 2010 5) Michal Michalski, Poland 6) Ruth Reveal, visiting summer student from Georgia, USA (which provided course credit for Psy 412) 7) Kamille LaRosa, visiting summer intern, University Michigan (which provided scholarship) 8) Lauren Mitchell, visiting summer intern, Kalamazoo College (which provided scholarship) 9) Kuori Agaki, visiting summer intern, Kalamazoo College Students to be involved as of September 2010 10) St. Francis Xavier, Antigonish Nova Scotia 11) Marju Raju, Estonia, 12) Iceland 13) Ayumi Sasaki, and Saya Ando (sophomores) Japan 14) Switzerland 15) Poland 16) UK 17) UPEI 18) Kenya 19) Canada 20) China 21) Brazil AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  53 8. Expected scholarly outcomes: Outcomes: The test battery will provide a wealth of data in a neglected area that will provide the foundation for a model or models of singing acquisition, the foundation for scholarly work in singing. As well this work will contribute to understanding of human development and language development, and form the basis for appreciating what is possible in regard to sharing culture through singing, or teaching through singing. Contribution to Digital Library: Audiovisual sessions – components 1 – 11 from administration of the battery Deliverables: Showing Estimated total for 3.5 years and number produced in Year 1 Review Work- Re- Shops Cord- Articles Est 1 ings 1 1 Presentations Sym- 10 1 posia org Articles Papers published Book Chapters Books or Monographs Edited Volumes Games 2 3 1 1 1 1 (2) (1) Proc total Yr 1     54  1 4 AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  Annual Report Year 1 – AIRS Sub-theme 2.1 “Learning to Sing Informally” Submitted by Dr. Patricia Campbell (April 1, 2009 – March 31, 2010) Members Beatriz Ilari Martin Gardiner Graham Welch Helga Gudmundsdottir Caroline Van Niekerk Esther Mang Catherine J. Stevens Kati Szego Update Active exchange on 2.1 themes with Caroline, Helga, Beatriz, Graham, including (a) Discussion of potential student projects/proposals (Caroline), (b) archived collections of children’s and adult group songs (Helga). Continued development of thematic ideas relative to singing in informal settings, especially among children and in vocalizations enfolded within pedagogy and practice of instrumental music/musicians, with new attention to on-line archives of traditional song and the collection, analysis, transcription, and interpretation of song in central Tanzania (Wagogo) and Kenya. Involvement of Patricia on Steering Committee on issues relative to 2.1 and AIRS at large. Reference to AIRS and Theme 2.1 projects at presentations at ABEM (Londrina, Brazil), University of Rio de Janeiro (Ethnomusicology Archives) University of Western Australia (Perth), Griffith Conservatorium (Brisbane), Society for Ethnomusicology (Mexico City), Ethnomusicology Symposium (University of Dar es Salaam), UCLA (graduate student symposium), and The College Music Society (Seattle meeting). Involvement of students Ethan Chessin and Megan Perdue were funded for scholarly projects in 2009-2010; both projects are completed, with presentations at Beijing (ISME) and Seattle (ICMPC, AIRS). The papers have recently been submitted to journals for review leading to possible publication. Christopher Roberts, Kedmon Mapana, and Donald Otoyo Ondieki are funded for scholarly projects in 2010-11. Project completion by March 31 2011 Christopher Roberts: Children Singing One Line: An Examination of Web-based Resources of Children Singing throughout the World Kedmon Mapana: Traditional Songs of the Wagogo of Central Tanzania: Collection, Analysis and Interpretation AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  55 Donald Otoyo Ondieki: The Analysis of Early Kenyan Popular Music of 1945-1975 for the Development of Instructional Materials for Music Education Questions How can we engage members of Theme 2.1 more thoroughly? How can we assess the continued interest of Theme 2.1 members in issues and projects? Can we invite in other research and teaching faculty with Theme 2.1 interests and energies to participate in AIRS activity? Students at AIRS Annual Meeting Research Summary Christopher Roberts (Summary of Chessin and Perdue projects) Poster [In good hope], posters by Chessin and Perdue Songs Christopher Roberts, Kedmon Mapana     56  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  Sub-Theme 2.2: Formal Training in Singing Activity Report for Year One: 2009-2010. The vast embrace of this AIRS 2.2 venture began with a sense of overwhelming possibilities. The excitement continues as our goals are meeting with actions, and the rewards are revealing themselves generously. One of the most unique aspects of AIRS is how we’ve been led to create ways as artists, educators, psychologists and researchers to effectively and progressively communicate with each other! AIRS is allowing for gateways of understanding between those who make music and teach music, and those who study and analyze the phenomena as quantified data, toward deeper understanding of the process and the outcome. There exists a need for greater ease in communication between these domains. AIRS is creating the arena in which we as people and as professionals are discovering our isolated individualities and bringing us to build bridges where none have existed for us. AIRS is the “invitation to the dance” for artist-researchers to familiarize ourselves with qualitative and quantitative research techniques. It is in this way that we are learning to join in the standardized and accepted language of scientific discussion. Artist-Researchers are largely unskilled and under-skilled in research methodologies. Artist’s research studies, then, are generally devoted to analyses of composers’ works, or descriptive, anecdotal articles that are interesting and helpful, but outside recognized practices for making any significant research contributions. The myriad qualities existing in formalized singing instruction are observed in a fashion that belies ideal and definitive use by others. Thankfully, the art of singing thrives on individual differences. It is, however, through AIRS that creating ways for principles of voice production and best practices in education to be discerned and repeated - in addition to all that allows individual artists to thrive in their specific excellences. How AIRS is contributing to changes in arts, education and psychology research and performance interactivity could spawn cases studies of its case studies. Between the steep learning curves we are encountering between each other, we are using them as opportunities to make stronger connections from our previous unawareness. AIRS is presenting us with a feast of opportunities! AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  57 I. Subtheme Group 2.2: Dissemination About AIRS i. Early Childhood Education Summer Music Program, Royal Conservatory of Music, Toronto, Darryl Edwards and Rachel Heydon. August 5, 2009. ii. International Symposium on Performance Science (ISPS): Auckland, New Zealand. Dec. 15-18, 2009. Darryl Edwards iii. Vancouver International Song Institute (VISI), June 11, 2010: Rena Sharon (VISI Artistic Director), Darryl Edwards, Frank Russo. LITERATURE REVIEWS i. The literature review for choral music has been completed by University of Western Ontario graduate student, Jason Noble. ii. The literature review for vocal music is underway and still pending, by University of Toronto DMA student, Colleen Skull. RESEARCH ACTIVITY i) Ongoing data collection of formal voice training at the university level. DVD recordings of voice lessons have been collected in several voice studios at the University of Toronto. ii) Preliminary meetings and discussions have taken place for research studies with University of Toronto voice students and Dr. Frank Russo and his graduate students in the Psychology Department of Ryerson University. The intention is that this will move forward and take place within 2010-2011, for papers to be delivered at the International Symposium for Performance Science at the University of Toronto, August 24-27, 2011. iii) Dr. Carol Beynon and the Amabile Boys’ Choir in London, Ontario held a choral performance symposium for male choirs, January 29-30, 2010. It was a tremendous artistic and experiential success. Darryl Edwards participated as one of several guest clinicians. GOALS FOR 2010-2011 i) Inclusive Communication and Expansion. Communication with all the members of 2.2 can and should be increased, to encourage more involvement, more contributions, and the benefits resulting from intercollegiate     58  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  discussion. Casting a wider net to officially include data collection from culturally and geographically diverse locations will also be a priority. Contacts have presently been established in Canada, USA, China, New Zealand, Brazil, the Czech Republic, Italy, Germany, and South Africa. ii) Research from the Centre for Performance Science (Royal College of Music, London, U.K.) at the Centre for Opera Studies in Italy (COSI) June 15-July 20, 2010. Researchers will tentatively include Dr. Aaron Williamon (Head, CPS), and Dr. Frank Russo (Ryerson U.). iii) Student Funding. Owing to the availability of AIRS student funding, all abovementioned goals will be made all the more achievable through student researcher support. With present teaching and performance/research activities at and beyond expected maximum levels, AIRS’ funding for studetns is immensely important and absolutely required for reaching the stated milestones. iv) Articles and Papers. The results of the data collection and research studies will be submitted through article and paper proposals at such publications as the Journal of Singing, the Canadian Music Educator, National Association of Teachers of Singing Regional Conferences (National Conference is in 2012), and several other conferences and publications (print and online). v) Institutional Ethics Review for Audio-Visual Submissions. In addition to required ethics review for all research with human subjects, gaining permission to post online audio-visual teaching excerpts from participants and institutions is expected to be a daunting task, requiring much work for successful proposal submissions. vi) Case Studies of Beginning Singers: Recording lessons with beginning singers from their very first lesson. This will require the participation of student researchers as well as novice singers. The intention is to track developments from the beginning of instruction, then throughout the teaching year, and beyond. This Report Successfully Submitted by Darryl Edwards, August 18, 2010. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  59 AIRS Annual Report Year 1 Sub-Theme 2.3 “Learning Through Singing” (Andrea Rose and Jennifer Sullivan, Canada) Overview of Current Work: Andrea Rose, Memorial University of Newfoundland, Newfoundland and Labrador, Canada Focus: Singing in online music education contexts: A case study in Newfoundland and Labrador, Canada Study areas: ♪ Singing as an art form – skill, technique, traditions and practices ♪ Singing alone and together (individual/ensemble) ♪ Singing as a pedagogical tool and strategy in music education ♪ Singing in community – local/global – formal/informal Goals: ♪ Explore singing as a fundamental mode of music and music education; as a pedagogical construct and strategy in the teaching and learning of music in online, distance education models – secondary music education ♪ Develop web-based models, strategies and utilize new and emerging technologies appropriate for singing; examine issues, challenges, opportunities ♪ Enhance both online and traditional contexts for singing in music education and other educational contexts (e.g., web-based resources and interactions) To date: Several publications and conference presentations (MENC 2010; ISME 2010) 2 Masters Theses in music education: K. Joy. Perceptions of students, teachers, administrators and policy makers of distance learning in rural Newfoundland and Labrador: a critical constructivist perspective J. Nakashima. Experiencing Music 2200 online: a critical case study of the curriculum transfer process Jennifer Sullivan: Acadia University, Nova Scotia, Canada Focus: Singing and Development of Language/Vocabulary Acquisition Publications: Sullivan, J. F. & O'Neill, S. (2009). Singing Acquisition and Education: A Developmental Perspective Sullivan, J. F. (2009). Song Intervention to Enhance Preschool Vocabulary. Student Theses: Walton, K. Singing as a Vocabulary Intervention for Preschool Aged Children Coombes, B. Sing Along with Me: The Effects of Group Singing Instruction on the Preschool Child's Ability to Sing     60  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  Martha Gabriel and June Countryman: UPEI, Charlottetown, PEI, Canada Focus: Singing and literacy; - making connections between singing, lyrics, and literacies; field work and creating song collections using indigenous songs from Nova Scotia, PEI… for use by children and to use in preparation of elementary classroom teachers June Countryman: UPEI, Canada Focus: Singing in educational contexts: - "neuropsycholbiological reality" (Graham Welch); bodymind experience of singing and connections to learning in general elementary contexts Martin F. Gardiner: Center for the Study of Human Development, Brown University, Providence, Rhode Island, USA Focus: Connections between developing musical/singing skill and musical literacy and academic progress in Math and Language Arts (elementary grades) Additional: ♪ Henrietta Lempert: University of Toronto, Canada ♪ Kati Szego: Memorial University of Newfoundland ♪ Other collaborations ongoing between Theme groups AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  61 AIRS Annual Report Year 1 – Sub-theme 3.1 “Intercultural Understanding” (April 1, 2009 – March 31, 2010) Submitted by Dr. Godfrey Baldacchino Activities by Godfrey Baldacchino as part of the AIRS Project: 1. A book proposal exploring songs as demonstrative of cultural vibrancy, global-local dynamics and intercultural understanding from island contexts was initially submitted to Berg Publishers but resubmitted to Scarecrow Press after Berg informed us that they no longer publish edited works in that field. 28 different contributors have initially been involved in this proposal – tentatively titled Island Songs - and the first complete draft of the book’s contents is expected in early August 2010. 2. A graduate student at UPEI, Andrew Weatherill, was engaged for 8 weeks (part-time) in compiling an annotated bibliography of scholarly material dealing with islands and songs/singing. His compilation is available in Refworks format here: http://refworks.scholarsportal.info/refshare/?site=010361146456000000/190-943NKCK71582593/ISLAND%20SONGS 3. Both Andrew Weatherill and Godfrey Baldacchino were involved in presenting work in progress at the showcase afternoon organized by the UPEI Centre for Educational Research at the Rodd Royalty, Charlottetown, PEI on April 14, 2010. The event was well attended and open to the general public. 4. As part of ongoing AIRS administration, Godfrey Baldacchino was involved in a teleconference on 03 February 2010, as well as in another planning meeting on 05 April 2010. AIRS Annual Report Year 1 – Sub-theme 3.1 “Intercultural Understanding” (April 1, 2010 – March 31, 2010) Submitted by Dr. Lily Chen-Hafteck Activities of Lily Chen-Hafteck’s project: 1. A meeting with various international collaborators of the project has taken place on March 5, 2010, in New Jersey, USA, during my "Educating the Creative Mind" conference at Kean University. Attendants included Alda Oliveira from Brazil, Dafu Lai from China, Elizabeth Andango from Kenya, plus Annabel and me. At this meeting, it was decided that the research site in Africa will be Kenya instead of South Africa. 2. The number of AIRS collaborators from the four research sites who will be involved in the project has now been expanded. They are Alda Oliveira and Beatriz Ilari from Brazil, Frank Russo and June Countryman from Canada, Jiaxing Xie and Dafu Lai from China, and Elizabeth Andango from Kenya. They will supervise and provide guidance to the student-researchers throughout the project. They will also assist in compiling the teaching materials that are representative of their cultures, identifying the participating schools and requesting for permission.     AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  62  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  3. There was some delay in receiving the funding for students. The fund arrived only in May 2010. An undergraduate student assistant, Nancy Gleason, has been hired in June 2010. She is now working on the literature review of the project. 4. A meeting in Beijing, China, is planned for August 2, 2010 during ISME (International Society for Music Education) conference. At this meeting, the focus will be on finalizing the songs from each of the four countries of the study. Conference Presentations: Chen-Hafteck, L., Cohen, A. & Rose, A. (2010). Advancing Interdisciplinary Research in Singing (AIRS): a model for international leadership, networking and collaboration in music education research. Paper presented at the ISME (International Society for Music Education) North American Regional Seminar, Anaheim, CA, March 25-27, 2010. Cohen, A. & Chen-Hafteck, L. (2010). Advancing Interdisciplinary Research in Singing (AIRS): a model for comprehensive studies of the significance of the arts in children’s lives and education. Poster presented at the ‘Educating the Creative Mind’ Conference, Union, NJ, March 4-6, 2010. Chen-Hafteck, L. (2009). Toward cross-cultural understanding through singing. Paper presented at the Phenomenon of Singing International Symposium, St. John’s, Newfoundland, Canada, July 25, 2009. Addendum from Annabel Cohen Felix Neto in Portugal will be conducting the replication and extension of the important study of the role of children’s learning songs of a minority culture on the improvement of attitudes to that minority culture. An injury prevented Dr. Neto from participating in the UNESCO Symposium, and the paper was given by Annabel Cohen who co-organized the symposium with Larry O’Farrell, UNESCO Chair of Arts and Learning, at Queen’s University, under the auspices of Andrea Rose, co-organizer of the Phenomena of Singing Conference at Memorial University in Newfoundland. This symposium was a plenary session that opened the 2008 Conference, and support from UNESCO was received. Larry O’Farrell has also promoted the AIRS Project at Plenary Presentations of MENC, Anaheim and the UNESCO World Conference on Arts and Learning that took place in May, 2010. Plans for development of a multicultural choir at UPEI are underway AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  63 AIRS Annual Report Year 1 – Sub-theme 3.2 “Intergenerational Understanding” (April 1, 2009 – March 31, 2010) Submitted by Dr. Rachel Heydon 2. Intergenerational Understanding Date: July 14, 2010 2. Name of investigator (s) and Primary sub-theme(s) Other sub-themes affiliation Rachel Heydon 3.2 Intergenerational Understanding The University of Western Ontario Susan O’Neill 3.2 Intergenerational Understanding Simon Fraser University Carol Beynon 3.2 Intergenerational Understanding 2.2 Formal Training of Singing The University of Western Ontario *Please note that Mary Gick (Carleton U) and possibly others will be involved at times following the period related to this report. 3. Goals of AIRS addressed: The team is moving forward with all the goals as stated in the Milestone document under theme 3.2. The sub-theme will also be able to integrate with themes related to pedagogy (theme 2) (e.g., pedagogies for the teaching of singing to young and old; the relationship between singing and learning opportunities in speech and language) and psychological health (theme 3.3) (e.g., measures of generativity). 4. Contribution to AIRS goals over the past year(s) of the project (a) with AIRS funding (b) without any funding or with other resources (Please note, however, that AIRS has provided generous student funding that will be reflected in future annual reports.) Refereed Publications:    Books:  Heydon, R. (under review). Children and elders learning in the circle of life: Curriculum support for  intergenerational learning programs. Washington, DC: National Association for the Education of Young  Children. (b)    Refereed Book Chapters:  Beynon, C. A., & Alfano, C. (in press). Getting to know you: Fostering learning, fun and friendship between  two generations. In D. Elliott & K Veblen (Eds.), Community music today. Lanham, MD: Rowman &  Littlefield. (b)    Heydon, R. (in press). Curriculum and intergenerational learning. In N. Howe & L. Prochner (Eds.), New  directions in early childhood education and care in Canada. Toronto: University of Toronto Press. (b)    Presentations:   Heydon, R. (2010). Intergenerational learning programming from a curriculum studies’ perspective: New  directions, new possibilities. Paper presented at the meeting of the Early Childhood Education and Care  group, Concordia University, Montreal, Quebec. (b)        64  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  Heydon, R. (2009). Sharing and thriving through intergenerational singing curriculum. Invited Address to  the Early Childhood Music Specialist Course, Royal Conservatory of Music, Toronto. (b);     O’Neill, S. A. (2009) Developmental perspectives on singing engagement. Paper for Symposium on singing  and psychology: Interdisciplinary perspectives and implications. 70th Annual Convention of the Canadian  Psychological Association. Montreal. (b)    O’Neill, S. A. (2009). Celebrations of revealing: Learning to respect cultural diversity through music. Pan‐ Canadian Symposium 2009: Widening the Boundaries of Music Education, University of Victoria, British  Columbia. (b)    Symposia:   Beynon, C. A. (2010). Men aloud: Male choral symposium. London, ON. (b) [Video shooting completed and  2 documentaries to be produced, 1 focusing on gender and singing and the other on the intergenerational  focus of the symposium.]     5. Project Description: This is a three-phase project. Phase one (year one) has been funded and almost complete: review of the existing literature of IG singing, survey of IG singing programs in the pilot region to determine what exists, in what form, and receptiveness to such programs. Phase two (years two & three): A draft curriculum will be developed and a pilot IG singing program launched in London, ON. Following the pilot, the draft curriculum will be implemented, reviewed, and revised before being re-implemented in London (this time with site staff such as recreation therapists attempting to teach the program). Research in phase two will involve the documentation of the program including the learning and relationship-building opportunities its curriculum and pedagogies afford and the creation and implementation of a measure of generativity. Phase three (late year 3) will see the program implemented in Ottawa and possibly beyond. 6. Student(s) involved, their level of degree and home university Students in phase one: 1. Kim Eyre, (Post-Doctoral) Research Assistant, Ph.D. (Faculty of Music); seasonal instructor, The University of Western Ontario; beginning appointment as Assistant Professor at Nipissing University (Faculty of Education; Music Education), Aug. 1, 2010 2. Tiffany Ng, Research Assistant, M.Ed. Candidate, The University of Western Ontario (Faculty of Education, Curriculum Studies) 3. Sylvia Richardson, Research Assistant, M.Ed. Candidate, Simon Fraser University (Faculty of Education, Arts Education) Students to be involved (phase two, beginning September, 2010): 4. Wendy Crocker, Research Assistant, Ph.D. Candidate, The University of Western Ontario (Faculty of Education, Educational Studies, Curriculum and Pedagogy Field) 5. Terry Loerts Research Assistant, Ph.D. Candidate, The University of Western Ontario (Faculty of Education, Educational Studies, Curriculum and Pedagogy Field) 6. Paul Boissonnault, Ph.D. Candidate, Simon Fraser University (Faculty of Education, Arts Education) AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  65 7. Expected scholarly outcomes: Outcomes: The attainment of AIRS goals as described in section 3 which can add to the extant literature on IG learning and IG singing programs and benefits, establish an infrastructure in London and Ottawa for IG singing programs; establish a curriculum and related handbook for IG singing programs that can be disseminated for use in other locales; the creation of a generativity measure Contribution to Digital Library: Samples of IG singing collected during phases two and three. Deliverables: (highlighted areas show where the sub-theme has already met or exceeded anticipated deliverable) Review article Workshops Presenta- Symposia Published articles Book chapters Book 3 1 3 1 0 4 1 2 (in press) 1 (under tions Promised in 1 milestones document (first 3.5 years of grant) Achieved to date (1.2 years)     66  3 review) AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  AIRS Annual Report Year 1 – Sub-theme 3.3 “Singing and Health” (April 1, 2009 – March 31, 2010) Submitted by Dr. Jennifer Nicol Team Members Stephen M. Clift, Rena Sharon, Gottfried Schlaug, Mary L. Gick, Janice Richman-Eisenstat, Ian R. M. Cross, Bradley Vines, Chris M. Blanchard, Laurel Young, Kay Kleinerman, Jennifer A. Nicol 1. Nicol & Clift with assistance from Cross and other colleagues of Clift, worked on systematic review of the literature on group singing, wellbeing and health benefits; manuscript submitted April 2010 for a special issue of the online journal of UNESCO, with guest editor, Larry O’Farrell, UNESCO Chair in Arts and Learning 2. Nicol & Clift collaborating in area of singing and COPD research 3. Anticipated future visits – Nicol to England, Clift to Canada (University of Saskatchewan) 4. Sharon arranged for AIRS presentation as part of VISI, speakers Frank Russo & Darryl Edwards 5. Gick involved in AIRS administration – policy and planning committee; steering committee (Theme 3.3 representative); wrote a review paper on singing and health entitled, “Singing, health and well-being: A health psychologist’s review” and submitted it to Psychomusicology for special issue on singing. Revision of paper is under review. 6. Young promoting AIRS at Annual conference of the Canadian Association for Music Therapy, May 2010 in Halifax, NS; doing occasional singing and health workshop at Wellspring, a cancer support centre (see http://www.wellspring.ca/) and her workshop model is being used to start another program facilitated by another music therapist at a different Wellspring centre in Ontario 7. Kleinerman & Cohen completed data gathering for Later Life Singing study; anticipated involvement of student(s) in data analysis stage 8. Nigel Brown progresses on establishing first Canadian pilot of UK Sing for your Life in the Okanagan, BC. A silver Song Club is forming in Kelowna with anticipated Fall 2010 start date Student Involvement 1. 2. 3. 4. 5. Jean Emmerson, PhD Candidate, University of Saskatchewan; action research study on implementation of singing program with teen mothers and their infants Marieke Blom, MEd Canadidate, University of Saskatchewan; Thesis is evaluating impact of a group singing intervention on attachment between infants and their mothers who are involved with the Saskatoon Maternal Mental Health Program Marya Stonehouse, MEd Candidate, University of Saskatchewan, research assistant for grounded theory study of group singing as a health practice for choir members Katie McCaw, BA student in psychology, University of Saskatchewan, anticipated RA involvement from Sept 2010 on grounded theory project described above. Carina Daugherty, MA in psychology at Carleton University will complete her honours thesis 2010/11 AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  67 6. Sally Busch joined AIRS student network and will begin preliminary work on her MA thesis; expected date of completion is Summer 2012. 7. 3 PhD students at the Sidney de Haan Research Centre for Arts and Health working on singing research (psycho-physiology of singing, developing Silver Song Clubs in Rome and singing, facial mobility and Parkinson's disease) who are keen to be involved in the AIRS network Presentations 1. Nicol, J.J. & Lalonde, G. (2010, June). Singing, Resiliency and Identity: Three Adolescent Francophone Girls’ Stories of Singing. Pathways to Resilience II: The Social Ecology of Resilience, Halifax, Canada. 2. Nicol, J.J. (2010, May). Music Therapy and the AIRS Project. Annual Conference of the Canadian Association for Music Therapy, Halifax, Canada. 3. Cohen, A.J., Gick, M.L., & Sullivan, J. (2010, May). Advancing Interdisciplinary Research in Singing (AIRS): Developmental perspectives. Poster presented at Development 2010: A Canadian Conference on Developmental Psychology, Ottawa, ON. Suggestions 1. Laurel Young asked for AIRS presence at CAMT 2011 Winnipeg conference – Jennifer planning to attend and will take responsibility for organizing panel, symposium, poster(s) or whatever is possible and most suitable     68  AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  AIRS Annual Report Year 1 - Sub-theme “Students and Young Professionals” (April 1, 2009 – March 31, 2010) Submitted by Andrea Emberly Year One: This year saw the start of many AIRS related studies, research and dissertation topics. The students and young professionals have been in contact throughout the year to connect and create a network of young scholars who are dedicated to researching diverse topics on singing. Many of the students have been working on literature reviews for each of the AIRS themes and sub-groups and several have started their own dissertation research. One student has defended their PhD and will continue working on AIRS related research. Some examples of projects and research that AIRS students and young professionals have been working on: ¾ Studying maternal singing under various conditions  ¾ Studying age‐related changes in children's singing  ¾ Reviewing literature on the psychophysiological effects of singing which are related to health  and well‐being focusing on the immune and stress markers IgA and Cortisol  ¾ Investigating the use of singing to promote health and harmony in the lives of adolescent  mothers and their infants  ¾ Researching what singing abilities young children have before singing training, and the effects  this training can have on the children’s singing, cognitive and social skills  ¾ Researching musical elements of children's playsong (form, rhythm, movement, tonal  patterns, etc.) focusing on three collections by Riddell, Marsh, and Merrill‐Mirsky  ¾ Studying the influence of the vowel on the laryngeal mechanisms (M1 and M2) in the singing  voice  ¾ Studying the role of song in migrant communities in Australia and beyond  ¾ Researching various aspects of performance in vocal pedagogy  ¾ Literature review on singing development and suggesting future directions for research on  singing development  ¾ Exploring the role of song in children’s lives and the ways in which children learn singing  through integrative means (in conjunction with movement and instrumental playing) in South  Africa, Australia and Bali  It is expected that at the AIRS meeting in Seattle the students will have the first opportunity to gather as a group to discuss specific milestone goals, deliverables and cross-theme collaborative possibilities for the upcoming year. As the students have not had the opportunity to meet together this will be an invaluable time for the group. AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  69 Students and young professionals represented in this group (bracketed number represents the research sub-theme or group): Megan Ethan Andrew Tiffany Kim Lexy Laurel Lisa Ruth Cheryl Johanna Mathieu Andrew John Ashley Lisa Frances Thami Rayna Judy Beste Gisèle Jean Marieke Rita Utpola Sylvain Amy Purdue (2.1) Chassin (2.1) Weatherill (3.1) Ng (3.2) Eyre (3.2) McIver (1.3) Young (3.3) Mcclellan (1.3) Reveal (1.3) Filipak (3.1) Devaney (2.2, DL) Bergeron Hankinson (DL) Burgoyne (DL) Chan (1.2) Wilkins Zungu (1.2) Friendly (1.1) Plantinga (1.2) Kalender (1.2) Lalonde (3.3) Emmerson (3.3) Blom (3.3) Bento (3.3) Borah (2.2) Lamesch (2.2) Fancourt University of Washington University of Washington University of Prince Edward Island University of Western Ontario University of Western Ontario University of Prince Edward Island Philadelphia Bates College University of Prince Edward Island Kean University McGill University McGill University McGill University McGill University Ryerson University of Aberdeen Tshwane University of Technology Huron University College at Western University of Toronto Mississauga University of Toronto Mississauga University of Saskatchewan University of Saskatchewan University of Saskatchewan Masters student Masters student Masters student M.Ed Post doc Undergraduate (done) PhD student Undergraduate (done) Undergraduate (done) Doctoral student Post doc PhD student Post doc PhD student MEd student (just finished) PhD student M.Ed PhD student University of Dehli Post doc University of Paris Post doc Music, Mind & Brain, Goldsmiths London, UK Université Stendhal Sandra Jonathan Alicia     70  Cornaz (2.3) Lane (DL) Altass (3.1) Gipsa Lab, Grenoble, France University of Prince Edward Island Mount St. Vincent University, Halifax, Nova Scotia AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27                                    Notes                                                                                                                                                        AIRS 2nd Annual Conference ‐ Advancing Interdisciplinary Research in Singing  Seattle, Washington: August 22, 2010 in conjunction with ICMPC11 Aug 23‐27  71