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Linda Carroll – In terms
of looking at the different choices of whether it’s going
to be interactive or not, one of the things that we often, as voice
trainers do in our work with sopranos, is if they have a high note to
sing to make sure they never go wide, unless they are at the very highest
note, but once in the note, they can afford to go wide with
the mouth open. Does that mean that perhaps when you are dealing
with any voice that’s going to go high, that you have one
strategy for most of the song, but for the high you can change?
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Joe Wolfe – You didn’t mention values of the phase
difference or the power factor there. That’s interesting because
the power output is the acoustic pressure flow cause angle between
them. So that if you did make your load purely innertive, you’d
have no power at all, purely imaginary power. So my question is
just how innertive, and what is the phase difference that people achieve
in what you use in the model. Audio
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Perry Smith – I’m not a mathematician, so this is
a little beyond me. How do you find that this correlates with the
findings of Vernard and Doscher; they both metion the supraglottal
effect on the laryngeal mechanism. Audio
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Jim Doing – The narrow epilarynx tube, basically right above
the vocal folds - I’ve had students to go an otolaryngologist
who scoped them and they say "if it narrows down it's all too tight,
too tight." It kind of goes against our ideas of gola aperta/open
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