Zander M

High-speed imaging and electroglottography measurements of the open quotient in untrained male voices' register transitions.

Vocal fold oscillation patterns in vocal register transitions are still unclarified. The vocal fold oscillations and the open quotient were analyzed with high-speed digital imaging (HSDI) and electroglottography (EGG) in 18 male untrained subjects singing a glissando from modal to the falsetto register. Results reveal that the open quotient changed with register in both HSDI and EGG. The in-class correlations for different HSDI and EGG determinations of the open quotient were high. However, we found only weak interclass correlations between both methods. In 10 subjects, irregularities of vocal fold vibration occurred during the register transition. Our results confirm previous observations that falsetto register is associated with a higher open quotient compared with modal register. These data suggest furthermore that irregularities typically observed in audio and electroglottographic signals during register transitions are caused by irregularities in vocal fold vibration.

Music performance anxiety in opera singers.

Abstract Music performance anxiety (MPA) represents a high challenge every vocal performer has to meet. MPA can be defined on a continuum going from a low to a high level. MPA and its phenomena can be considered in terms of four levels: affect, cognition, behaviour, and physiology. A study carried out on seven opera singers and two instrumentalists during performance situations showed highly elevated values for the performers heart rate and blood pressure. This study, as several others, yielded no clear evidence pointing to a correspondence between the level of anxiety and of physiological arousal. At the end of the article a multimodal approach to the treatment of MPA is illustrated consisting of different psychotherapeutical and body-oriented methods.

Perturbation measurements in untrained male voices' transitions from modal to falsetto register.

PURPOSEnVoice periodicity during transitions from modal to falsetto register still remains an unclarified question.nnnMETHODnWe examined the acoustic and electroglottographic signals of 20 healthy untrained male voices transitions from modal to falsetto register on the vowels /a, e, i, o, u, and æ/.nnnRESULTSnIn addition to discontinuities in fundamental frequency (F0), an independent increase of jitter, relative average perturbation, and shimmer was observed during and apparently caused by the register transition. In falsetto, the jitter was higher than in the modal register. The contact quotient derived from the electroglottographic signal tended to be lower for higher than for lower F0.nnnCONCLUSIONnRegister transitions are associated with increase of perturbation.

Stimmdiagnostik bei professionellen Sopranistinnen

ZusammenfassungZur Evaluation von Stimmleistungsparametern wurde ein Protokoll der Europäischen Laryngologischen Gesellschaft (ELS) erstellt. Mit diesem evaluierten wir 17 professionelle Sopranistinnen, von denen 11 organische Stimmlippenveränderungen und 6 keine organischen Stimmlippenveränderungen in der Stroboskopie aufwiesen. Die Sängerinnen mit erhöhten subjektiven Stimmbeschwerden und Auffälligkeiten in der auditiven Beurteilung durch den Untersucher unterschieden sich von nicht beeinträchtigten Sängerinnen signifikant hinsichtlich der Tonhaltedauer, des Frequenzspektrums und des Dysphonia-Severity-Index. Keine Unterschiede hinsichtlich dieser Parameter wurden in Bezug auf das Vorliegen von Stimmlippenveränderungen gefunden. Die Daten unterstreichen, dass stroboskopisch sichtbare organische Stimmlippenveränderungen nicht notwendigerweise mit Veränderungen der stimmlichen Leistungsfähigkeit oder der Messwerte im ELS-Protokoll einhergehen müssen. Eine Indikation zur Therapie sollte bei professionellen Sängerinnen deshalb nicht allein aufgrund der Stroboskopie, sondern anhand von multifaktoriellen Stimmanalysen, wie sie das ELS-Protokoll vorsieht, auf eine breite Basis gestellt werden.AbstractThe European Laryngological Society (ELS) has published a protocol for the evaluation of vocal function. Using this protocol, we evaluated 17 female sopranos, of whom 11 had laryngostroboscopic findings of organic alterations and six did not. Singers with increased subjective impressions of hoarseness, or of whom the examiner had increased perceptions of hoarseness, showed significant differences regarding impairment of the maximum phonation time, the frequency range, and the dysphonia severity index. No such differences were found regarding the presence of alterations of the vocal folds. These data suggest that organic alterations in professional singers are not necessarily associated with impaired vocal performance or vocal function or with measured values of the ELS protocol. For professional singers, therapy should be indicated not just on the basis of stroboscopy but on a broader basis using multifactorial voice analysis such as the ELS protocol.The European Laryngological Society (ELS) has published a protocol for the evaluation of vocal function. Using this protocol, we evaluated 17 female sopranos, of whom 11 had laryngostroboscopic findings of organic alterations and six did not. Singers with increased subjective impressions of hoarseness, or of whom the examiner had increased perceptions of hoarseness, showed significant differences regarding impairment of the maximum phonation time, the frequency range, and the dysphonia severity index. No such differences were found regarding the presence of alterations of the vocal folds. These data suggest that organic alterations in professional singers are not necessarily associated with impaired vocal performance or vocal function or with measured values of the ELS protocol. For professional singers, therapy should be indicated not just on the basis of stroboscopy but on a broader basis using multifactorial voice analysis such as the ELS protocol.

Music performance anxiety in young musicians: comparison of playing classical or popular music.

OBJECTIVESnMusic performance anxiety (MPA) is an issue frequently experienced by musicians. It occurs not only in experienced musicians but also in children and adolescents. Furthermore, most research on MPA has been done with musicians who specialized in classical music. This study investigated the development of MPA across the ages in young musicians focusing on the classical and popular genres.nnnMETHODSnIn a cross-sectional survey, 239 students at German music schools, aged between 7 and 20 yrs, were asked about their perceived MPA and musical background. The data were analyzed according to musical genre and age. Multiple regression analyses were performed to investigate the influences of musical experiences on MPA.nnnRESULTSnThe analyses yielded high levels of MPA for classical musicians between 7 and 16 yrs, which was reduced in older students; for popular musicians, low MPA was seen in the younger (7-11 yrs) and high MPA in the older (16+ yrs) musicians. MPA was influenced by gender and the number of performances in the classical music group and only by gender and age in the popular music group.nnnCONCLUSIONnThe results showed clear different trends for the development of MPA between musical genres that should be taken into account for educational aspects in musical training.

Long-term analysis of health status and preventive behavior in music students across an entire university program.

OBJECTIVESnThe aim of this investigation was to analyze longitudinal data concerning physical and psychological health, playing-related problems, and preventive behavior among music students across their complete 4- to 5-year study period.nnnMETHODSnIn a longitudinal, observational study, we followed students during their university training and measured their psychological and physical health status and preventive behavior using standardized questionnaires at four different times.nnnRESULTSnThe data were in accordance with previous findings. They demonstrated three groups of health characteristics observed in beginners of music study: healthy students (cluster 1), students with preclinical symptoms (cluster 2), and students who are clinically symptomatic (cluster 3). In total, 64% of all students remained in the same cluster group during their whole university training. About 10% of the students showed considerable health problems and belonged to the third cluster group.nnnCONCLUSIONnThe three clusters of health characteristics found in this longitudinal study with music students necessitate that prevention programs for musicians must be adapted to the target audience.

Gehörschutz bei Musikern

The ENT physician and specialist in musicians medicine is consistently confronted with the issue of hearing protection, since musicians exposed to high sound levels due to their profession, and who are often concerned about their hearing, refer to him. Furthermore, this topic has gained more relevance since a noise exposure limit for professional musicians was issued in February 2008 by the EC guidelines for occupational health and safety regarding Noise (2003/10/EC). The present article gives an outline of the recent state of knowledge about sound pressure levels, hearing risks, as well as the use of hearing protection for musicians.ZusammenfassungDer HNO-Arzt und Musikermediziner ist immer wieder mit dem Thema Gehörschutz bei Musikern konfrontiert, da sich Musiker an ihn wenden, welche bei der Musikausübung hohen Schalldruckpegeln ausgesetzt sind und die sich häufig Sorgen um ihr Gehör machen. Zudem hat das Thema neu an Aktualität gewonnen, da seit Februar 2008 infolge der neuen EG-Arbeitsschutzrichtlinie „Lärm“ 2003/10/EG und der deutschen Lärm- und Vibrations-Arbeitschutzverordnung neue Grenzwerte für Profimusiker gelten. Der Artikel gibt anhand der Literatur und eigener Forschungsergebnisse einen Überblick über den aktuellen Wissensstand hinsichtlich Schalldruckpegelbelastungen, Hörgefährdung sowie der Anwendung von Gehörschutz bei Musikern.AbstractThe ENT physician and specialist in musician’s medicine is consistently confronted with the issue of hearing protection, since musicians exposed to high sound levels due to their profession, and who are often concerned about their hearing, refer to him. Furthermore, this topic has gained more relevance since a noise exposure limit for professional musicians was issued in February 2008 by the EC guidelines for occupational health and safety regarding “Noise” (2003/10/EC). The present article gives an outline of the recent state of knowledge about sound pressure levels, hearing risks, as well as the use of hearing protection for musicians.

[Voice diagnostics in professional sopranos: application of the protocol of the European Laryngological Society (ELS)].

ZusammenfassungZur Evaluation von Stimmleistungsparametern wurde ein Protokoll der Europäischen Laryngologischen Gesellschaft (ELS) erstellt. Mit diesem evaluierten wir 17 professionelle Sopranistinnen, von denen 11 organische Stimmlippenveränderungen und 6 keine organischen Stimmlippenveränderungen in der Stroboskopie aufwiesen. Die Sängerinnen mit erhöhten subjektiven Stimmbeschwerden und Auffälligkeiten in der auditiven Beurteilung durch den Untersucher unterschieden sich von nicht beeinträchtigten Sängerinnen signifikant hinsichtlich der Tonhaltedauer, des Frequenzspektrums und des Dysphonia-Severity-Index. Keine Unterschiede hinsichtlich dieser Parameter wurden in Bezug auf das Vorliegen von Stimmlippenveränderungen gefunden. Die Daten unterstreichen, dass stroboskopisch sichtbare organische Stimmlippenveränderungen nicht notwendigerweise mit Veränderungen der stimmlichen Leistungsfähigkeit oder der Messwerte im ELS-Protokoll einhergehen müssen. Eine Indikation zur Therapie sollte bei professionellen Sängerinnen deshalb nicht allein aufgrund der Stroboskopie, sondern anhand von multifaktoriellen Stimmanalysen, wie sie das ELS-Protokoll vorsieht, auf eine breite Basis gestellt werden.AbstractThe European Laryngological Society (ELS) has published a protocol for the evaluation of vocal function. Using this protocol, we evaluated 17 female sopranos, of whom 11 had laryngostroboscopic findings of organic alterations and six did not. Singers with increased subjective impressions of hoarseness, or of whom the examiner had increased perceptions of hoarseness, showed significant differences regarding impairment of the maximum phonation time, the frequency range, and the dysphonia severity index. No such differences were found regarding the presence of alterations of the vocal folds. These data suggest that organic alterations in professional singers are not necessarily associated with impaired vocal performance or vocal function or with measured values of the ELS protocol. For professional singers, therapy should be indicated not just on the basis of stroboscopy but on a broader basis using multifactorial voice analysis such as the ELS protocol.The European Laryngological Society (ELS) has published a protocol for the evaluation of vocal function. Using this protocol, we evaluated 17 female sopranos, of whom 11 had laryngostroboscopic findings of organic alterations and six did not. Singers with increased subjective impressions of hoarseness, or of whom the examiner had increased perceptions of hoarseness, showed significant differences regarding impairment of the maximum phonation time, the frequency range, and the dysphonia severity index. No such differences were found regarding the presence of alterations of the vocal folds. These data suggest that organic alterations in professional singers are not necessarily associated with impaired vocal performance or vocal function or with measured values of the ELS protocol. For professional singers, therapy should be indicated not just on the basis of stroboscopy but on a broader basis using multifactorial voice analysis such as the ELS protocol.

Hearing protectors in musicians

The ENT physician and specialist in musicians medicine is consistently confronted with the issue of hearing protection, since musicians exposed to high sound levels due to their profession, and who are often concerned about their hearing, refer to him. Furthermore, this topic has gained more relevance since a noise exposure limit for professional musicians was issued in February 2008 by the EC guidelines for occupational health and safety regarding Noise (2003/10/EC). The present article gives an outline of the recent state of knowledge about sound pressure levels, hearing risks, as well as the use of hearing protection for musicians.ZusammenfassungDer HNO-Arzt und Musikermediziner ist immer wieder mit dem Thema Gehörschutz bei Musikern konfrontiert, da sich Musiker an ihn wenden, welche bei der Musikausübung hohen Schalldruckpegeln ausgesetzt sind und die sich häufig Sorgen um ihr Gehör machen. Zudem hat das Thema neu an Aktualität gewonnen, da seit Februar 2008 infolge der neuen EG-Arbeitsschutzrichtlinie „Lärm“ 2003/10/EG und der deutschen Lärm- und Vibrations-Arbeitschutzverordnung neue Grenzwerte für Profimusiker gelten. Der Artikel gibt anhand der Literatur und eigener Forschungsergebnisse einen Überblick über den aktuellen Wissensstand hinsichtlich Schalldruckpegelbelastungen, Hörgefährdung sowie der Anwendung von Gehörschutz bei Musikern.AbstractThe ENT physician and specialist in musician’s medicine is consistently confronted with the issue of hearing protection, since musicians exposed to high sound levels due to their profession, and who are often concerned about their hearing, refer to him. Furthermore, this topic has gained more relevance since a noise exposure limit for professional musicians was issued in February 2008 by the EC guidelines for occupational health and safety regarding “Noise” (2003/10/EC). The present article gives an outline of the recent state of knowledge about sound pressure levels, hearing risks, as well as the use of hearing protection for musicians.

Gehörschutz bei Musikern@@@Hearing protectors in musicians

The ENT physician and specialist in musicians medicine is consistently confronted with the issue of hearing protection, since musicians exposed to high sound levels due to their profession, and who are often concerned about their hearing, refer to him. Furthermore, this topic has gained more relevance since a noise exposure limit for professional musicians was issued in February 2008 by the EC guidelines for occupational health and safety regarding Noise (2003/10/EC). The present article gives an outline of the recent state of knowledge about sound pressure levels, hearing risks, as well as the use of hearing protection for musicians.ZusammenfassungDer HNO-Arzt und Musikermediziner ist immer wieder mit dem Thema Gehörschutz bei Musikern konfrontiert, da sich Musiker an ihn wenden, welche bei der Musikausübung hohen Schalldruckpegeln ausgesetzt sind und die sich häufig Sorgen um ihr Gehör machen. Zudem hat das Thema neu an Aktualität gewonnen, da seit Februar 2008 infolge der neuen EG-Arbeitsschutzrichtlinie „Lärm“ 2003/10/EG und der deutschen Lärm- und Vibrations-Arbeitschutzverordnung neue Grenzwerte für Profimusiker gelten. Der Artikel gibt anhand der Literatur und eigener Forschungsergebnisse einen Überblick über den aktuellen Wissensstand hinsichtlich Schalldruckpegelbelastungen, Hörgefährdung sowie der Anwendung von Gehörschutz bei Musikern.AbstractThe ENT physician and specialist in musician’s medicine is consistently confronted with the issue of hearing protection, since musicians exposed to high sound levels due to their profession, and who are often concerned about their hearing, refer to him. Furthermore, this topic has gained more relevance since a noise exposure limit for professional musicians was issued in February 2008 by the EC guidelines for occupational health and safety regarding “Noise” (2003/10/EC). The present article gives an outline of the recent state of knowledge about sound pressure levels, hearing risks, as well as the use of hearing protection for musicians.