Presenter |
Deirdre D. Michael, Ph.D., CCC/SLP |
Presentation Title |
Correlations Between Perceptual and Acoustic Measures of Voice
Quality in Singers |
Additional Authors |
Katherine Lindsay, B.A.; Susan Buesgens, M.A.; Jennifer
Swanson, M.M. |
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Link to speaker notes, if provided |
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Question/Answer session |
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Ruth Rainero – I hope this is not the last word;
I think this is very interesting and singing teachers can certainly
use any tools we can get. I’m not surprised that the listeners
had trouble deciding on strain, especially listening to recorded
voices; especially for advanced singers, it is often hard to tell
if this is a well grounded voice or a someone who is straining,
you certainly have to see them. I’m a little concerned about
using vibrato as a good and bad, and ever trying to rate vibrato
as good and bad. It’s used in so many different ways, jazz
singers use it as an ornament. There are extremely good classical
singers …….. listen to audio link for more. Audio
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Ron Scherer – Your work really points out a real necessity
that we have subcategorizing the strain, the roughness, perhaps vibrato,
relative to physiology and morphological orientation. I was at a
first a little surprised that the CPP correlates positively with
the roughness. ….. listen to audio link for more. Audio
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Bob Heitzinger – 2 quick questions, I was just wondering
how you established a baseline for where to start for your listeners,
because when you listen to hours of auditions, after a while you
go ‘gosh, I should have rated this person 3 people ago lot
lower or higher in the scheme of things’. How did you figure
out where they were going to start, and the second part of that
is: since you saw the group was more reliable than
the individual, then was there group think involved? Audio
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