Vocal Apparatus Research Articles

Singing professionalization peculiarities at secondary general education institutions of Kharkiv till the middle of XIX century

The purpose of the article is to determine the specifics of the professionalization of singing until the middle of the XIX century in Kharkiv general secondary education institutions.
 The methodology. Since the phenomenon of Kharkiv vocal art was not considered in the scientific discourse, the methodological basis of the article is the method of comparative analysis, the application of which made it possible to determine the specific features of professional singing in the educational environment of the city. Determining the characteristics of professional singing (methodology of voice processing, repertoire, etc.) was carried out within the framework of applying the principle of systematicity.
 The results. The specificity of the understanding of singing as a sphere of professional creativity within the limits of church choral practice is traced. The principles of processing of the singing voice in Kharkiv institutions of general secondary education from the middle of the XVIII century are considered. In the context of preparing a singer for collective music making, the music teacher — bandmaster used methods of working with the singing voice, which were formed within the church choir practice and were aimed at mastering vocal technique. For Ukrainian educational institutions of the last quarter of the XVIII century we can highlight common specifics of the activity of music classes, which consisted, in addition to the music teacher, of minor students and adult already trained musicians.
 It is noted that since the 1840s, the aspiration to professional mastery of solo singing has become popular among Kharkiv youth, which is due to the invitation of European vocalists to become a music teachers at Kharkiv educational institutions.
 The scientific novelty. It was determined that by the middle of the XIX century. vocal art was cultivated in general educational institutions of Kharkiv by bandmasters, whose multi-functional specifics of activity is determined by the mutual influence of high-quality performance of organizational, pedagogical and other functions within the framework of leadership of musical collectives. In the process of preparing the singer for collective music making, the bandmaster, firstly, used the methods of setting the voice as a means of reproducing the musical text, developed and elaborated in European musical practice; secondly, ensured learning the basic standards for vocals as a level of mastery of the vocal apparatus: voice setting, cantilena singing, purity of intonation, sense of metrorhythm, etc.
 The performing and teaching activities of European singers since the 1840s stimulated the professionalization of vocal training in general educational institutions of Kharkiv in the context of reorientation from collective to solo singing. Thanks to the pedagogical activity of the Frenchman G. Briss, the Italians Conti, L. Gervasi, and others, the vocal repertoire begins to be dominated by opera music, the reproduction of which requires professional training of the voice.
 The practical significance. Determining the logic of the formation and functioning of certain signs of professional voice reproduction of a musical text within certain chronological and cultural boundaries will contribute to the improvement of the process of understanding the phenomena of, on the one hand, the musical culture of Kharkiv, and on the other hand, the vocal art of Ukraine.

Vocal Learning and Songbirds: An Evolutionary Tale of Singing

Vocal Learning and Songbirds: An Evolutionary Tale of Singing Heidi Moss Erickson (bio) MINDING THE GAP [Introduction to the "Minding the Gap" series. Research on the neurobiological underpinnings of vocalization is growing at a rapid pace. Scientists from varied disciplines contribute to this field, elucidating the process from such diverse angles as evolutionary biology, molecular biology, genetics, neuroscience, and psychology.1 Singing is one of our most complex behaviors, involving coordination of more than 100 muscles, integrating both our musical and linguistic selves. Influences are derived from a looped brain-body-environment continuum and serve as the foundation for vocalization and artistic expression. It is therefore essential that singers, pedagogues, and voice scientists capitalize on this wealth of data to fully understand our instruments. An integrative view of how and why we sing can refine the art of voice pedagogy, demystify long held myths, and yield greater vocal efficiency, making singers better faster. The goal of this series, "Minding the Gap," is to bridge the divide between traditional voice pedagogy with the most current research on the brain. This is a dynamic process, and the hope is that this snapshot in scientific time will encourage singers and teachers to follow some of this work as it continues to evolve. Given the constant output in neuroscience research, paradigm shifts are the norm. To that end, it is important to follow the latest work from the diverse minds in the field. The first installment of "Minding the Gap" will explore the field of vocal learning from both an evolutionary and biological perspective. These concepts set the stage for future reviews on the neuroscience of breath, learning, articulation, phonation, emotion, gesture, and more. Each survey will include integrated voice pedagogy and voice science components so that readers can directly apply concepts to their field of study. The hope is that this series will open the door to new lines of inquiry and curiosity, moving our field into a new era of exploration.] The singing instinct, which men have in common with the birds is, without a doubt, at the root of the vocal art. —David Ffrangcon-Davies, The Singing of the Future (1905) Vocalization has both biological and anthropological roots. Humans speak and sing in order to communicate and socially bond. Each individual gains this ability through listening to acoustic models, forming auditory templates, and consolidating sensory information. This results in an identifiable vocal output, as unique as a [End Page 87] fingerprint. When we analyze the parallel evolution that gives rise to our vocal abilities, we gain insight into the inner workings of our complex instrument. Traditional voice pedagogy focuses on the question of how to sing; however, by analyzing our evolutionary story, we gain a greater understanding of why we sing. Ultimately, the why serves the how, leading to a deeper appreciation for our instrument by all who care for the voice. Much discussion around the evolution of complex human behaviors focuses on our primate cousins. We have inherited a great deal from our simian counterparts; chimpanzees, for example, share 99% of our DNA, they laugh when tickled, create strong social bonds, use hand gestures to communicate, mimic,2 and even demonstrate elements of emotion.3 However, two critical components for higher order vocalizations—a flexible vocal apparatus and a brain that coordinates complex sounds—are noticeably absent or severely compromised in our close relatives. Regarding structural elements of the voice, the vocal limitations of nonhuman primates have been partially attributed to the anatomy and configuration of their vocal tract (i.e., a high position of the larynx and a less flexible tongue). This was described in a seminal 1969 paper by Lieberman et al., who used a computer algorithm to extract the phonetic capability of subjects, and thus serve as a model for other nonhuman primates.4 Their measurements concluded that monkeys do not have a physical capacity for complex speech. Although in recent years scientists proved that there is more variability than initially thought,5 the fact remains that adult humans possess a more flexible vocal tract capable of more diverse vocalizations than our primate cousins. A more critical difference, however, lies in the correlative brain regions for...

Sex differences in frequencies in a species with modest sexual size dimorphism

ABSTRACT Sex differences in vocalizations are found across the animal kingdom, which may be due to different vocal apparatus, call function, and context. Rock hyraxes (Procavia capensis) of both sexes are vocal, but the sexes differ in repertoire size, call usage, and amplitude. In this study we examined sex differences in vocalization frequencies and predicted that they will be low and that frequency ranges will overlap since sexual size dimorphism in this species is modest (~ 15%). We utilized two datasets: recordings of captive hyraxes using a condenser microphone; and audio files of wild-living individuals recorded via a miniature recorder mounted on a collar. With the exclusion of two proximate call types recorded in the wild, all calls featured an ultrasonic component. However, in females there was an effect of duration on minimal frequency. Warning trills, which are heard by humans far away, featured the highest maximal visible harmonic in both datasets. No relationship was found between calling distance and the maximal harmonic in males, while in wild females, distant calls featured higher frequencies. Our results show sex differences in hyrax vocalization frequencies. Exploring the information encoded in frequencies beyond the human hearing range may expand our understanding of animal communication.

Vocal expression of emotional arousal across two call types in young rhesus macaques

As Darwin first recognized, the study of emotional communication has the potential to improve scientific understanding of the mechanisms of signal production as well as how signals evolve. We examined the relationships between emotional arousal and selected acoustic characteristics of coo and scream vocalizations produced by female rhesus macaques, Macaca mulatta, during development. For coos, arousal was assessed through measures of stress-induced elevations of plasma cortisol exhibited in response to the human intruder test. In the analysis of screams, arousal was evaluated from the intensity of aggression experienced by the vocalizer during natural social interactions. Both call types showed a positive relationship between arousal and overall fundamental frequency (F0, perceived as pitch in humans). In coos, this association was dampened over development from infancy (6 months) to the juvenile, prepubertal period (16 months) and further to menarche (21.3-31.3 months), perhaps reflecting developmental changes in physiology, anatomy and/or call function. Heightened arousal was also associated in coos with increases in an acoustic dimension related to F0 modulation and noisiness. As monkeys matured, coos showed decreases in overall F0 as well as increased noisiness and F0 modulation, likely reflecting growth of the vocal apparatus and changes in vocal fold oscillation. Within screams, only one acoustic dimension (related to F0 modulation) showed developmental change, and only within one subclass of screams within one behavioural context. Our results regarding the acoustic correlates of arousal in both call types are broadly consistent with findings in other species, supporting the hypothesis of evolutionary continuity in emotion expression. We discuss implications for broader theories of how vocal acoustics respond to selection pressures.

THE ROLE OF COMPOSERS AND CONDUCTORS IN THE PROCESS OF YOUNG CHORISTERS’ MUSICAL DEVELOPMENT

We can influence the development of children’s musical and cognitive capacities as well as the increase in their general perceptive capacities by means of singing. Conductors and composers who create music literature for children significantly influence their musical development along with the development of their musical sensitivity. They must, however, be aware of the physiology of children’s voice apparatus, emotional development, and the shaping of voice and aural capacities within the age groups they deal with. An important element is also the collaboration of a conductor and a composer during the process of creation and preparation of a piece featuring a children’s choir. The author describes how children’s voice, musical and cognitive capacities develop during subsequent periods of their musical development, what differences there are in the structure of voice apparatus in adults and in children and what results from these differences, she also touches on the issue of a child’s voice range. Moreover, she outlines how, thanks to cooperation, a conductor and a composer may contribute to the improvement of music competencies in children. She then pays attention to what a composer should take into consideration while writing music for children depending on their age in order to help them shape their musical talents, and to the fact that by creating relevant children’s repertoire he can influence the shaping of a child’s personality. The author also writes what a conductor should be guided by when choosing the repertoire and constructing vocal exercises for working with children, plus how he can make his classes attractive and thus interesting for children. To conclude, she makes readers reflect on what qualities people working with children should cultivate in themselves as they are the ones that often determine the future of young singers. Keywords: children’s choirs, youth choirs, a child’s vocal apparatus, vocal apparatus development, choir compositions for children, work of a conductor with children’s ensembles.

'I love you': the first phrase detected from dreams.

ObjectiveMany people have dreams nightly and some maintain consciousness during dreams. Such dreams are referred to as lucid dreams (LD). During dreams, our speech correlates with facial muscle activity, which is hard to decode, but LD could solve this problem. The primary hypothesis of this study was that the facial muscles electric activity during LD corresponds to specific sounds. Understanding this connection could help decode dream speech in the future.Material and MethodsUnder laboratory conditions, four LD practitioners were asked to say “I love you”, a phrase with a distinctive electromyographic (EMG) signature. They did this before falling asleep and then again after becoming conscious during a dream. Their facial and neck EMG was recorded in four areas.ResultsAll four volunteers accomplished the goal at least once. The patterns associated with the “I love you” phrase were observed in most cases, both during wakefulness and LD. Specifically, the “I” triggered distinctive phasic activity in the submentalis area most of the time, while “you” did the same in the orbicularis oris.DiscussionThis study highlights the possibility of detecting only specific and highly EMG distinctive phrases from dreams because vocalization also involves a tong and vocal apparatus. The most interesting consequence of the present results is that they indicate the possibility of creating an artificial EMG language that could be instantly decoded in reality and used during LD.

On Ornamentation and Improvisation in Baroque Vocal Performance

The rapid revival of baroque music in Russia places ever higher demands on singers regarding a historically grounded style of performance. This is manifested not only in the content of vocal and technical equipment (implying the presence of flexibility of the vocal apparatus, possession of a wide cantilena and light coloratura fluency), but also in the need to form your own creative approach in creating an original version, including ornamentation and improvisation in cadence, repeating parts of da capo arias. The proposed article is aimed at solving topical problems in the field of baroque performance related to vocal ornamentation and improvisation. The methodology of the research is based on a historical approach, which includes both a diachronic aspect aimed at identifying the dynamics in the evolution of the phenomenon under study from the XVI to the XVIII century, and a synchronic one, thanks to which various types of jewelry, features of improvisation in baroque performance are considered as the most important elements of style. The author draws conclusions about the significance of ornaments in the baroque music. The material of the article and the conclusions will be useful to musicians, singers performing old music, for its stylistically correct interpretation, as well as in training courses on the history of vocal performance at performing departments of music colleges and faculties of universities.

The social semiotic study of vocal acting – the Hollywood Golden Age films as examples

Abstract This study argues that voice is a communicative tool used in people’s daily life, and it can also be a vocal apparatus for actors to deliver acting functions in films. In this study, the author demonstrated how actors project voice qualities of pitch, loudness and intonation to achieve various communicative functions in vocal acting by investigating four selected Hollywood films. The speech analysis tool Praat was used to process actors’ voice qualities in the selected data to verify the argument. After investigation, this research discovered that actors can use voice qualities to represent information and emotion and indicate characters’ attitudes, relationships and situations. Moreover, this research revealed that actors’ voice is more dynamic than other acting participants (such as makeup, costume).

Mechanisms of sound production in deer mice (Peromyscus spp.).

Rodent diversification is associated with a large diversity of species-specific social vocalizations generated by two distinct laryngeal sound production mechanisms: whistling and airflow-induced vocal fold vibration. Understanding the relative importance of each modality to context-dependent acoustic interactions requires comparative analyses among closely related species. In this study, we used light gas experiments, acoustic analyses and laryngeal morphometrics to identify the distribution of the two mechanisms among six species of deer mice (Peromyscus spp.). We found that high frequency vocalizations (simple and complex sweeps) produced in close-distance contexts were generated by a whistle mechanism. In contrast, lower frequency sustained vocalizations (SVs) used in longer distance communication were produced by airflow-induced vocal fold vibrations. Pup isolation calls, which resemble adult SVs, were also produced by airflow-induced vocal fold vibrations. Nonlinear phenomena (NLP) were common in adult SVs and pup isolation calls, suggesting irregular vocal fold vibration characteristics. Both vocal production mechanisms were facilitated by a characteristic laryngeal morphology, including a two-layered vocal fold lamina propria, small vocal membrane-like extensions on the free edge of the vocal fold, and a singular ventral laryngeal air pocket known as the ventral pouch. The size and composition of vocal folds (rather than total laryngeal size) appears to contribute to species-specific acoustic properties. Our findings suggest that dual modes of sound production are more widespread among rodents than previously appreciated. Additionally, the common occurrence of NLP highlights the nonlinearity of the vocal apparatus, whereby small changes in anatomy or physiology trigger large changes in behavior. Finally, consistency in mechanisms of sound production used by neonates and adults underscores the importance of considering vocal ontogeny in the diversification of species-specific acoustic signals.

P474. My Stomach is Growling at Me: Cenesthopathy as Auditory Visceral Hallucinations

In 1904, an individual with visceral verbal hallucinations from organs, not part of the vocal apparatus, in the absence of somatic sensations or hallucinations, was described (Eades,1904). A second case is presented.

The Potential of ASR for Improving English Pronunciation: A Review

To pronounce well is a complex task, requiring students not only to possess knowledge of the appropriate sounds in a given context, but also to learn to use their vocal apparatus to make those sounds, equipped with extensive practice and feedback. Students in these situations require autonomous monitoring experiences to receive tailored feedback.. One of the technological tools learners can use to improve their pronunciation is Automatic Speech Recognition (ASR). This provides learners with individual practice and feedback to assist them s to accomplish their language goals. This study examines the database of research on the use of ASR in pronunciation instruction and learning available on Google Scholar, Springer Link, Education Resources Information Center (ERIC), Taylor & Francis Online and Directory of Open Access Journal (DOAJ). To help the process of identification, some procedures and criteria were employedThe results revealed that ten articles met the eligibility criteria. The procedures of utilizing ASR to improve students' pronunciation competency are then discussed in this study. 
 Keywords: teaching speaking, teaching pronunciation, Automatic Speech Recognition

Voice changes in reproductive disorders, thyroid disorders and diabetes: a review.

The subject of vocal changes accompanying pathological conditions, although still not well explored, seems to be promising. The discovery of laryngeal receptors for sex hormones and thyroid hormones can strongly support the hypothesis of changes in voice due to various endocrinopathies. On the other hand, the impairment of the proper function of the vocal apparatus can also be caused in the process of the microvasculature complications of diabetes mellitus. This review was a comprehensive summary of the accessible literature concerning the influence of selected endocrinopathies on subjective and objective voice parameters. We analysed a total number of 16 English-language research papers from the PubMed database, released between 2008 and 2021, describing vocal changes in reproductive disorders such as polycystic ovary syndrome and congenital adrenal hyperplasia, thyroid disorders in shape of hypo- or hyperthyroidism and type 2 diabetes mellitus. The vast majority of the analysed articles proved some changes in voice in all mentioned conditions, although the detailed affected vocal parameters frequently differed between research. We assume that the main cause of the observed conflicting results might stem from non-homogeneous methodology designs of the analysed studies.

Comparative morphology and physiology of the vocal production apparatus and the brain in the extant primates

Objective data mainly from the comparative anatomy of various organs related to human speech and language is considered to unearth clues about the mechanisms behind language development. The two organs of the larynx and hyoid bone are considered to have evolved towards suitable positions and forms in preparation for the occurrence of the large repertoire of vocalization necessary for human speech. However, some researchers have asserted that there is no significant difference of these organs between humans and non-human primates. Speech production is dependent on the voluntary control of the respiratory, laryngeal, and vocal tract musculature. Such control is fully present in humans but only partially so in non-human primates, which appear to be able to voluntarily control only supralaryngeal articulators. Both humans and non-human primates have direct cortical innervation of motor neurons controlling the supralaryngeal vocal tract but only human appear to have direct cortical innervation of motor neurons controlling the larynx. In this review, we investigate the comparative morphology and function of the wide range of components involved in vocal production, including the larynx, the hyoid bone, the tongue, and the vocal brain. We would like to emphasize the importance of the tongue in the primary development of human speech and language. It is now time to reconsider the possibility of the tongue playing a definitive role in the emergence of human speech.

ОСОБЛИВОСТІ УКРАЇНСЬКОЇ ВОКАЛЬНОЇ МУЗИКИ В АСПЕКТІ ВИКОНАВСТВА

The article is devoted to the peculiarities of Ukrainian vocal music in the performing aspect. Ukrainian vocal music attracts more attention from both viewers and scientists. Such interest is connected primarily with the talent of Ukrainian singers, with unsurpassed timbres of voices, with the charisma of individual features. Therefore, the study of the peculiarities of Ukrainian vocal art in the performance aspect becomes relevant. The author of the article considers Ukrainian vocal performance to be a treasure in the European cultural space. On the basis of modern scientific literature, the methods of content analysis, observation and synthesis revealed that this is a unique field of academic vocals together with the interpenetration of performance techniques of traditional Ukrainian singing. Vocal music is one that intended for singing. This is a special link of the general musicological context. Thanks to the vocal performance, the awareness of the meaning of the human voice is revealed, which acts as an instrument with superpowers that captures the human soul. The artistic image of a vocal work is conveyed through the presence of physical features of the human vocal apparatus. A professional singing voice is the result of vocal apparatus special training. The voice delivered in an academic manner is characterized by ringing and roundness of vowels and a timbre beauty. It has a two-octave range and dynamic capabilities, with a singing character. The singer must also have clear diction, clearly and distinctly pronounce the poetic text when singing. There is a distinction between pop performance and academic performance. In the context of global vocal performance, we have singers who raise the glory of Ukrainian vocal art in the 21st century. In general, Ukrainian vocal music in terms of performance is a unique phenomenon of world musical culture.

Полипы голосовых складок у профессионалов голоса

Vocal fold polyps (VFP) are referred to as tumor-like formations of the larynx. They also, like nodules, occur in less than 1% of the population, while the ratio of men and women is 2:1. The voice of patients with VFP is characterized by pronounced dysphonia, which creates significant problems for voice professionals. A change in voice function affects the communicative abilities of patients, psychological status, limits their ability to work. 60 patients with VFP who applied to the phoniatric department of the Saint Petersburg Research Institute of Ear, Throat, Nose, and Speech were examined: 34 (57%) women and 26 (43%) men, aged 20 to 61 years, the average age of patients was 33,8 ± 1,7 years. All patients were representatives of voice professions. The main complaint in all patients with polyps of the vocal folds was hoarseness. The duration of vocal disorders in 40 (67%) patients with VFP ranged from 1 month to 1 year. The rest of the patients suffered from dysphonia for more than a year. The average duration of phonation disturbance was 1,6 ± 0,7 years. The main cause of voice problems was considered by patients to be excessive voice use. When collecting anamnesis, it turned out that 35 (58%) people smoked. The analysis of concomitant diseases according to the anamnesis and the documentation provided by the patients revealed somatic pathology in all patients. Diseases of the gastroduodenal, endocrine, and cardiovascular systems were more common than others. Laryngeal diseases were diagnosed by video laryngoscopy, video laryngostroboscopy. Unilateral localization of the formation was detected in 58 (97%) cases, bilateral, in 2 (3%) cases. The background condition for the formation of VFP was hypotension of the vocal folds in 26 (43%) of the examined. In addition, signs of chronic laryngitis, nodules of the vocal folds on the vocal fold opposite to the polyp, hypertrophy, and hyperfunction of the vestibular folds were revealed. Thus, excessive voice use, pathological changes in the vocal apparatus, nervous, endocrine, gastroduodenal, and other systems as well as smoking contributed to the formation of vocal fold polyps in voice professionals.

SOLFEGGI IN THE EDUCATIONAL PRACTICE OF THE NEAPOLITAN CONSERVATORIES OF THE EIGHTEENTH CENTURY AS A FACTOR IN THE FORMATION OF THE STYLE OF BEL CANTO

The purpose of the work. The work is devoted to the problem of formation of bel canto vocal technique and new aesthetics of singing, which gave rise to the phenomenon of opera of the XVIII century. The content of collections of vocal exercises – solfeggi – are considered as the basis of a comprehensive practice of improving singing voices while studying in the classes of the Neapolitan conservatories of the XVIII century.Methodology. An integrated approach to the study of the material is used. Historical and theoretical researches of Gallant style, opera art of the XVIII century, academic activity of music classes of Neapolitan conservatories, teaching of solfeggio, partimento and counterpoint in these influential educational institutions of the epoch are considered. The method of performance analysis is used to study vocal exercises – solfeggi. Scientific originality. It is noted that the time, place and conditions of mastering the technique of "beautiful voice" still remain unclear in the literature. The system of music education in the classes of Neapolitan conservatories in the XVIII century were studied. It is determined that the boys' education was based on the systematic teaching of the disciplines of solfeggio, partimento, counterpoint and instrumental performance. Certain mechanisms of education of the vocal apparatus, embedded in the system of baroque vocal exercises, are analyzed. The educational materials preserved in the archives, documented in the student's notebooks – zibbaldoni, are considered. The role of castrates in the formation of new aesthetics of singing, the development of virtuoso and plastic abilities of singers, strengthening the atmosphere of professional competition were studied. Conclusions. It is revealed that all known sets of exercises are built with a professional understanding of methodological tasks and developed with the aim of gradually acquiring singing qualities, which later became known as characteristic features of the bel canto style. Based on the practical mastery of musical works of Neapolitan teachers-singers and composers – solfeggi, it was found that the practicing canto figurato was aimed directly at mastering vocal abilities of the singing apparatus, hearing development, skills of precise intonation, skillful breathing, vocal ornamentation` skills and simple intonations. It is substantiated that all the processes of "tension" and "weakening" of intonation and harmonic tendencies affect the development of changes in the dynamic and timbre shades of voice.

FORMATION OF VOCAL-PEDAGOGICAL CULTURE OF THE FUTURE MUSIC TEACHER

The problem of professional training of the future music teacher in the lessons of voice production is considered and vocal and technical techniques are proposed, which are used by the author of the Sttudy in practical work with Students. Adhering to the vocal-pedagogical principles of Professor OStap Darchuk from the Lviv Vocal School, where the author received training, and utilizing his advice, the article emphasizes the significance of musical-vocal reading based on linguiStic support, on the “character of sound” in the resonance point, and in a specific rhythm and tempo. Such reading helps develop a clear, articulate diction in the singer – the future music teacher – promoting uniformity in voice production, good projection, and the agility of sound. In doing so, the aim is to Strive for the moSt complete conveyance of the meaning of each word and the overall content of the piece. Musicalvocal declamation is also employed – a technical approach to the vocal-creative pronunciation of words with all their grammatical and logical accents, expressing the emotions contained in them. The article emphasizes the importance of underStanding the role of breathing in voice production, maStering basic types of breathing exercises (speaking, reciting poems, delivering speeches, etc.). A series of exercises for “breathing gymnaStics” is proposed in the work. Therefore, summarizing the material presented above, it is worth noting that the main goal of this article is to highlight certain vocal-technical techniques that collectively form the methodology for developing the voice of future music teachers. Since the process of shaping the elements of pedagogical maStery in a music teacher occurs gradually and takes into account the individual approach to each Student, the techniques should be selected based on what can be moSt beneficial at each Stage of the Student’s education and upbringing. Therefore, the research focuses on revealing techniques that can be recommended for work at the initial Stage of building the vocal apparatus of the Student. The proposed techniques, as described by the article’s author, are widely applied in her pedagogical work in educating future music teachers.

Results of a prospective observational study of the effectiveness of the complex drug Homeovox in adult patients with various types of dysphonia

To evaluate the clinical efficacy and safety of the use of the drug Homeovox in patients with acute and chronic catarrhal laryngitis as monotherapy. To fulfill the set goal of the study, the following tasks were solved: evaluation of the clinical effectiveness of the drug Homeovox as monotherapy for various types of dysphonia; evaluation of the effectiveness of the drug Homeovox as monotherapy from the 1st day of use. The basis for the implementation of the tasks was the analysis of the results of the examination and treatment of 60 patients with voice disorders aged 18 to 75 years. Among them, 10 (17%) patients with acute laryngitis and 50 (83%) patients with chronic laryngitis. To establish the diagnosis, a comprehensive examination was carried out, involving examination, videolaryngostroboscopy, acoustic analysis of the voice. The study design included three patient visits, during which the functional state of the vocal apparatus was examined by subjective and objective methods. As a result of the treatment with the use of the drug Homeovox, the efficacy and safety of this drug in the treatment of dysphonia in adult patients with acute and chronic laryngitis from the first days of therapy has been proven, which is confirmed by the method of videolaryngostroboscopy and acoustic analysis of the voice. The drug Homeovox is an effective, safe remedy and can be included in the complex treatment of laryngeal pathology in order to increase its effectiveness and achieve a therapeutic effect in a shorter time, manifested by an improvement in the clinical and functional state of larynx.

Assessment of the state of health of teachers of secondary schools

Introduction. Among the leading risk factors affecting the teaching contingent in their labour activity, psychoemotional stress, load on the vocal apparatus, hypodynamia, and prolonged forced posture are distinguished. As a result of hypodynamia - there is a violation of blood circulation, deterioration of the venous and lymphatic systems and further development of arterial hypertension (AH), overweight, varicose veins (VV), a decrease in the body’s immune forces, leading to frequent colds and chronic pathology of ENT organs. Therefore, the study of the health status of teachers, the prevention of diseases is an urgent task today. The purpose of the study is to assess the health status of teachers in general education schools based on many clinical and ultrasound examinations. Materials and methods. The object of the research was 78 teachers of secondary schools. All subjects were females, with an average age of 53.4 ± 8.3 years, an average work experience of 32.1 ± 9.1 years. Clinical and ultrasound examinations were carried out. Results. During clinical examination by narrow specialists, the detection of ENT organ pathology in the study group per 100 examined patients was 52 cases (66.6 ± 6.5%), 89 (114.1 ± 4.3%) cases - therapeutic pathology (among which arterial hypertension prevailed), 56 (71.8 ± 6.1%) cases of the endocrine system and 72 (92.3 ± 3.2%) cases of diseases of the nervous system. The frequency of pathological changes in the abdominal cavity and urinary system during screening ultrasound was 86% of cases, the thyroid gland - 70.0 ± 1.0% of cases. Conclusion. A clinical examination of the health status of teachers with more than ten years of experience has established one of the first places to be occupied by therapeutic pathology, in the form of CVS diseases, in the second place are diseases of the nervous system (vertebral pathology), the third-place belongs to diseases of the ENT organs and the endocrine system.

Teaching pop vocal performance to students: A comparison of methods used in Russia

The present study aims to compare modern Russian and foreign methods of teaching pop vocal to college and university students from the point of their effectiveness and educational results based on the analysis of the theoretical background and experimental work. Globalization, internationalization of cultures, the active introduction of electronic educational environments, and distance and online learning now allow mastering many vocal techniques and teaching methods and putting them into practice in a short amount of time. In this regard, the need to compare and evaluate modern Russian and foreign methods of teaching pop vocals, as well as identify the advantages and determine the prospects for their further use in pedagogical practice become relevant. The study summarizes the experience of teaching pop vocals and a comparative analysis of three modern methods of teaching – one foreign (Joe Estill) and two Russian (M.L. Kats and O. Donskaia). The results of the experiment show that the effectiveness of these techniques is due to the emphasis placed on the active and comprehensive development of the vocal apparatus, singing support, rhythmic coordination, singing vibrato, vocal techniques, melismatics, and the development of the vocal range and voicing resonators. The control stage of the experiment reveals the expressiveness of singing, the integrity of vocal pieces, the density of sound in all registers, and the improvement of the quality of timbral coloration of the voice in the tested group of students. These results were undoubtedly promoted by the previously studied and newly implemented methods of teaching pop vocals.