Development of an Auditory-Perceptual Rating Instrument for the Operatic Singing Voice

Auditory-Perceptual Evaluation of Disordered Voice Quality

“…Further, although training in perceptual voice evaluation has been shown to improve the reliability of listener judgements [e.g., 7,19 ], extensive technical training and sophisticated technical knowledge and skill are not required. By no means do all speech-language pathology or vocology programs in universities around the world provide strong technical education, and not all provide students with access to state of the art instrumentation [37] . Similarly, many clinical facilities do not have such equipment for instrumental voice evaluation or the technical support to ensure that the technology is used optimally [1] .…”

“…To return to more clinical aspects of auditory-perceptual assessment of dysphonia, some other unresolved research questions include the following: All but the last question listed above have received considerable research attention over the last decade [2,5,7,10,16,19,20,32,34,37,38] , although further investigation is warranted in each area [5,7] . The final question is far from resolved and requires further investigation.…”

Peer learning and reflection: strategies developed by vocal students in a transforming tertiary setting

“…Despite this paper pointing out a gap in the research, I did not find any research papers addressing this problem of how teachers imparted knowledge. Instead there was a great deal of literature that focused on voice science and increasing pedagogical content knowledge in areas such as breath management (Cowley, 1999;Miller, 1986Miller, , 1993, phonation (Titze, 1995;Watts, Barnes-Burroughs, Etis, & Blanton, 2006;Westerman Gregg & Scherer, 2006), resonance and articulation (Kenny & Mitchell, 2006;Mürbe, Sundberg, Iwarsson, Pabst, & Hofmann, 1999;Oates, Bain, Davis, Chapman, & Kenny, 2006), registration, vocal health, control of voice ( Callaghan, 1997), acoustical measurements of good singing and what happens physiologically to achieve this (Oates, Bain, Davis, Chapman, & Kenny, 2006), ventricular fold abduction and differentiated movement in the vocal apparatus Kayes, 2004;Obert & Chicurel, 2005). challenged the dominant paradigm that exists that airflow is processed by vocal folds and then modified by pharynx, mouth and vocal cavities (Sundberg, Leanderson, von Euler, & Knutsson, 1991) Research carried out into motor skill acquisition and practice organization (Schmidt, 1975;Sherwood, 1996;Sherwood & Lee, 2003) is very useful for singing in that it gives insight into how people can acquire long term learning, which was an important aim of this study.…”

Automatic Singing Performance Evaluation for Untrained Singers

“…In our previous study [3], several perceptual evaluation criteria (selected from consensus proposed in [2], [5]) are found to have intuitively strong acoustic implications and also have critical impact on rating singing performance for untrained singers during short singing clips. Concise descriptions of these perceptual terms are: Intuitively, "appropriate vibrato" could also be an important aspect of singing evaluation.…”

“…Wapnick & Ekholm found a set of perceptual evaluation terms whose validity was established through consensus among expert singing teachers and extensive review of the pedagogical literature [1]. Oates et al [2] did further investigation on similar perceptual terms and developed an auditory-perceptual rating instrument for operatic singing voice. In our recent study [3], we investigated several perceptual criteria for untrained singers' singing performance evaluation which intuitively have strong physical and acoustic implications and critical evaluation criteria were found for further studies.…”