Daily vocal exercise is necessary for peak performance singing in a songbird.

Vocal signals, including human speech and birdsong, are produced by complicated, precisely coordinated body movements, whose execution is fitness-determining in resource competition and mate choice. While the acquisition and maintenance of motor skills generally requires practice to develop and maintain both motor circuitry and muscle performance, it is unknown whether vocal muscles, like limb muscles, exhibit exercise-induced plasticity. Here, we show that juvenile and adult zebra finches (Taeniopygia castanotis) require daily vocal exercise to first gain and subsequently maintain peak vocal muscle performance. Experimentally preventing male birds from singing alters both vocal muscle physiology and vocal performance within days. Furthermore, we find females prefer song of vocally exercised males in choice experiments. Vocal output thus contains information on recent exercise status, and acts as an honest indicator of past exercise investment in songbirds, and possibly in all vocalising vertebrates.

Sing to me, baby: Infants show neural tracking and rhythmic movements to live and dynamic maternal singing.

Infant-directed singing has unique acoustic characteristics that may allow even very young infants to respond to the rhythms carried through the caregiver's voice. The goal of this study was to examine neural and movement responses to live and dynamic maternal singing in 7-month-old infants and their relation to linguistic development. In total, 60 mother-infant dyads were observed during two singing conditions (playsong and lullaby). In Study 1 (n = 30), we measured infant EEG and used an encoding approach utilizing ridge regressions to measure neural tracking. In Study 2 (n =40), we coded infant rhythmic movements. In both studies, we assessed children's vocabulary when they were 20 months old. In Study 1, we found above-threshold neural tracking of maternal singing, with superior tracking of lullabies than playsongs. We also found that the acoustic features of infant-directed singing modulated tracking. In Study 2, infants showed more rhythmic movement to playsongs than lullabies. Importantly, neural coordination (Study 1) and rhythmic movement (Study 2) to playsongs were positively related to infants' expressive vocabulary at 20 months. These results highlight the importance of infants' brain and movement coordination to their caregiver's musical presentations, potentially as a function of musical variability.

Aging of Amateur Singers and Non-singers: From Behavior to Resting-state Connectivity.

Healthy aging is associated with extensive changes in brain structure and physiology, with impacts on cognition and communication. The "mental exercise hypothesis" proposes that certain lifestyle factors such as singing-perhaps the most universal and accessible music-making activity-can affect cognitive functioning and reduce cognitive decline in aging, but the neuroplastic mechanisms involved remain unclear. To address this question, we examined the association between age and resting-state functional connectivity (RSFC) in 84 healthy singers and nonsingers in five networks (auditory, speech, language, default mode, and dorsal attention) and its relationship to auditory cognitive aging. Participants underwent cognitive testing and fMRI. Our results show that RSFC is not systematically lower with aging and that connectivity patterns vary between singers and nonsingers. Furthermore, our results show that RSFC of the precuneus in the default mode network was associated with auditory cognition. In these regions, lower RSFC was associated with better auditory cognitive performance for both singers and nonsingers. Our results show, for the first time, that basic brain physiology differs in singers and nonsingers and that some of these differences are associated with cognitive performance.

Singing in different performance spaces: The effect of room acoustics on singers' perception.

Classical singers' performances vary across different acoustic environments. The changes in the delivery are influenced by the singer's perception of the venue's acoustics. This study investigated these relationships using nine professional or semi-professional classical singers. Participants performed Giordani's "Caro mio ben" aria in five venues, and the acoustic parameters reverberance (T30 and EDT), clarity (C80), early vocal support (STv), and tonal color (EDTf) were measured. From a factor analysis of the subjective analysis three major factors emerged that, we propose, would represent three generalized percepts of Room Supportiveness, Room Noiselessness, and Room Timbre. These percepts correlated significantly with objective acoustic parameters traditionally linked to vocal support, reverberation, and timbre. Room Supportiveness and Room Noiselessness significantly contributed to the singers' likability of the acoustic environment, while Room Timbre did not. This indicates that singers' perceptual preference for a performance space may be influenced by factors affecting both auditory feedback and vocal function. These findings underscore the need for performing space designers to consider the unique needs of all stakeholders, including listeners and performers. The study contributes to the bridging of the gap between subjective perceptions and objective measurements, providing valuable insights for acoustic design considerations.

The effects of live parental infant-directed singing on infants, parents, and the parent-infant dyad: A systematic review of the literature.

Singing to infants is widely accepted as an enjoyable, positive, and beneficial interaction between the parent and infant across cultures. Whilst the literature suggests that live infant-directed singing impacts the infant, the parent doing the singing and the dyad in powerful ways, no systematic review of the evidence has yet been conducted. To this end, this systematic review identified 21 studies that investigated the effect of live parental infant-directed singing. These impacts were categorized as either being directly related to the infant, the parent, or the parent-infant dyad. Three main themes - one for each of the impact categories considered - were identified using thematic analysis techniques; infant-directed singing impacts on: infants' emotional regulation, provides validation of the parent's role, and promotes affect attunement within the dyad. The findings reinforce the benefits of live parental infant-directed singing for all parties involved, particularly when parents sing to typically developing infants born at full term. In contrast, the findings were inconsistent for pre-term infants. The implications of these findings are discussed.

Articulation posture influences pitch during singing imagery.

Facial muscle activity contributes to singing and to articulation: in articulation, mouth shape can alter vowel identity; and in singing, facial movement correlates with pitch changes. Here, we examine whether mouth posture causally influences pitch during singing imagery. Based on perception-action theories and embodied cognition theories, we predict that mouth posture influences pitch judgments even when no overt utterances are produced. In two experiments (total N = 160), mouth posture was manipulated to resemble the articulation of either /i/ (as in English meet; retracted lips) or /o/ (as in French rose; protruded lips). Holding this mouth posture, participants were instructed to mentally "sing" given songs (which were all positive in valence) while listening with their inner ear and, afterwards, to assess the pitch of their mental chant. As predicted, compared to the o-posture, the i-posture led to higher pitch in mental singing. Thus, bodily states can shape experiential qualities, such as pitch, during imagery. This extends embodied music cognition and demonstrates a new link between language and music.

Singing training predicts increased insula connectivity with speech and respiratory sensorimotor areas at rest.

The insula contributes to the detection of salient events during goal-directed behavior and participates in the coordination of motor, multisensory, and cognitive systems. Recent task-fMRI studies with trained singers suggest that singing experience can enhance the access to these resources. However, the long-term effects of vocal training on insula-based networks are still unknown. In this study, we employed resting-state fMRI to assess experience-dependent differences in insula co-activation patterns between conservatory-trained singers and non-singers. Results indicate enhanced bilateral anterior insula connectivity in singers relative to non-singers with constituents of the speech sensorimotor network. Specifically, with the cerebellum (lobule V-VI) and the superior parietal lobes. The reversed comparison showed no effects. The amount of accumulated singing training predicted enhanced bilateral insula co-activation with primary sensorimotor areas representing the diaphragm and the larynx/phonation area-crucial regions for cortico-motor control of complex vocalizations-as well as the bilateral thalamus and the left putamen. Together, these findings highlight the neuroplastic effect of expert singing training on insula-based networks, as evidenced by the association between enhanced insula co-activation profiles in singers and the brain's speech motor system components.

COVID-19: Impact on the Musician and Returning to Singing; A Literature Review.

OBJECTIVE: The purpose of this study was to review current literature of the impact of COVID-19 on musicians and returning to singing. METHODS: A comprehensive search of peer-review articles was completed using PubMed, GoogleScholar, Scopus, and Web of Science. The search was completed using many key terms including voice, hoarseness, dysphonia, aphonia, cough, singers, and public speakers. The bibliography from each article found was searched to find additional articles. The search process revealed 56 peer-reviewed articles, 18 primary articles, ranging from the years 2019 to 2020. CONCLUSION: COVID-19 has had a major impact on singers and other musicians worldwide. It can affect the voice and can lead to paresis/paralysis of laryngeal nerves to long-term changes in respiratory function. There is a risk from aerosolization/droplet formation transmission with singing, and with playing wind and brass instruments that can be mitigated by following COVID-19 guidelines. Ways to reduce possible transmission during singing and instrument play include virtual rehearsals or performances, mask-wearing, instrument covers, smaller choirs, performing outside, excellent ventilation being socially distanced, shorter rehearsals, regularly cleaning commonly touched surfaces and washing hands, avoiding contact with others, and temperature screening.

Neural processing of poems and songs is based on melodic properties.

The neural processing of speech and music is still a matter of debate. A long tradition that assumes shared processing capacities for the two domains contrasts with views that assume domain-specific processing. We here contribute to this topic by investigating, in a functional magnetic imaging (fMRI) study, ecologically valid stimuli that are identical in wording and differ only in that one group is typically spoken (or silently read), whereas the other is sung: poems and their respective musical settings. We focus on the melodic properties of spoken poems and their sung musical counterparts by looking at proportions of significant autocorrelations (PSA) based on pitch values extracted from their recordings. Following earlier studies, we assumed a bias of poem-processing towards the left and a bias for song-processing on the right hemisphere. Furthermore, PSA values of poems and songs were expected to explain variance in left- vs. right-temporal brain areas, while continuous liking ratings obtained in the scanner should modulate activity in the reward network. Overall, poem processing compared to song processing relied on left temporal regions, including the superior temporal gyrus, whereas song processing compared to poem processing recruited more right temporal areas, including Heschl's gyrus and the superior temporal gyrus. PSA values co-varied with activation in bilateral temporal regions for poems, and in right-dominant fronto-temporal regions for songs. Continuous liking ratings were correlated with activity in the default mode network for both poems and songs. The pattern of results suggests that the neural processing of poems and their musical settings is based on their melodic properties, supported by bilateral temporal auditory areas and an additional right fronto-temporal network known to be implicated in the processing of melodies in songs. These findings take a middle ground in providing evidence for specific processing circuits for speech and music in the left and right hemisphere, but simultaneously for shared processing of melodic aspects of both poems and their musical settings in the right temporal cortex. Thus, we demonstrate the neurobiological plausibility of assuming the importance of melodic properties in spoken and sung aesthetic language alike, along with the involvement of the default mode network in the aesthetic appreciation of these properties.

Simultaneous monitoring of vocal doses and breathing patterns in professional singers.

BACKGROUND: When learning and improving singing, the quantitative characterization of artists' performances based only on vocal parameters does not provide enough information to identify strategies for improvement. Simultaneous monitoring of sound production and breathing patterns in professional singers can allow the exploration of the mechanisms that promote effective singing modalities through association with respiratory efforts. METHODS: We developed and tested a novel portable device that simultaneously monitors vocal activity and breathing patterns without interfering with natural singing. The device utilizes a combination of a miniature accelerometer to measure vocal doses from skin vibrations on the neck and two respiratory inductive plethysmography (RIP) bands to estimate the breathing pattern by measuring changes in the thoracoabdominal cross-sectional area. RESULTS: The device was tested on 13 professional baroque-style singers and 14 untrained individuals during the execution of singing tasks. It was accurate compared with reference systems (R2 = 0.99 and R2 = 0.91 for the accelerometer and RIP, respectively) and showed differences between the two groups (p ≤ 0.001). CONCLUSIONS: By allowing a quantitative characterization of the effectiveness of singing technique, this novel device can help provide a better understanding of the physiology of singing and may be a tool for support learning and training optimization for professional singers.

O uso da voz nos rituais indígenas Pankararu / The use of voice in Pankararu indigenous rituals / El uso de la voz en los rituales indígenas Pankararu

Introdução: a voz é essencial para preservação e manutenção da cultura de grupos sociais. O povo Pankararu, vincula sua língua-mãe aos rituais religiosos. A principal forma de transmitir a tradição oral é através dos cantos nos rituais dos Praiás. Objetivo: resgatar o uso de voz pelos cantadores Pankararu no ritual dos Praiás, à luz do saber tradicional e científico. Método: estudo qualitativo, do tipo história de vida, autobiográfica, no qual foram acessadas memórias individuais e coletivas da comunidade Pankararu, considerando a caracterização do povo, do ambiente e o uso de voz nos rituais. Resultados: os cantadores utilizam a voz de maneira intensa e contínua, sem hidratação, e fumam cachimbo durante o ritual. O local onde cantam é um terreiro, espaço aberto, exposto às intempéries da natureza, com presença de poeira. Para cuidar da voz, baseiam-se no saber tradicional, apresentando uma visão distinta do conhecimento científico, no qual a voz representa sua cultura e identidade. Nesta perspectiva, hábitos descritos pela literatura como deletérios, são considerados saudáveis, demonstrando uma concepção singular de saúde. Conclusão: o conhecimento científico, paralelamente ao tradicional, poderá contribuir para estabelecimento de cuidados que visem à saúde vocal dos Pankararus.  Poderei oferecer ao meu povo, o qual apresenta demandas de saúde, conhecimentos científicos proporcionando uma melhor qualidade de voz e vida.

Introduction: The voice is essential for the preservation and maintenance of the culture of social groups. The Pankararu people link their mother language to religious rituals. The main way of transmitting the oral tradition is through singing in the rituals of Praiás. Objective: To rescue the use of voice by Pankararu singers in the Praiás ritual, considering the traditional and scientific knowledges. Method: Qualitative study, history life, autobiography design, which individual and collective memories of the Pankararu community were accessed, considering the characterization of the people, environment, and voice use in the rituals. Results: The singers use their voices intensely and continuously, without hydration, and smoking pipes during the ritual. The "terreiro" is the place where they sing, an open space, exposed to wuthering and dust. They are based on traditional knowledge for taking care of their voices, in a different view of scientific knowledge, in which voice represents their culture and identity. In this perspective, habits described in the literature as harmful are considered healthy, demonstrating a unique conception of health. Conclusion: Scientific knowledge, in parallel with the traditional one, can contribute to establish care aimed at the vocal health of the Pankararus. I will be able to offer to my people, who have health demands, scientific knowledge providing a better quality of voice and life.

Introducción: la voz es fundamental para la preservación y mantenimiento de la cultura de los grupos sociales. La gente de Pankararu, vincula su lengua materna a los rituales religiosos. La principal forma de transmitir la tradición oral es a través del canto en los rituales de Praiás. Objetivo: rescatar el uso de la voz de los cantantes de Pankararu en el ritual Praiás, a la luz de los conocimientos tradicionales y científicos. Método: estudio cualitativo, del tipo de historia de vida; Se accedió a las memorias individuales y colectivas de la comunidad Pankararu, considerando la caracterización de las personas, el entorno y el uso de la voz en los rituales. Resultados: los cantantes utilizan sus voces de forma intensa y continua, sin hidratarse, pipas de humo durante el ritual. El lugar donde canta el terreiro, un espacio abierto, expuesto a la intemperie de la naturaleza, con presencia de polvo. Para cuidar la voz, se basan en los conocimientos tradicionales, presentan una visión diferente del conocimiento científico, donde la voz representa la cultura y la identidad. En esta perspectiva, los hábitos descritos en la literatura como nocivos, se consideran saludables, demostrando una concepción única de la salud. Conclusión: El conocimiento científico, además del conocimiento tradicional, puede contribuir al establecimiento de cuidados dirigidos a la salud vocal de los Pankararus. Podré ofrecer a mi gente, que tiene demandas de salud, conocimientos científicos que brinden una mejor calidad de vida.

Group singing improves both physical and psychological wellbeing in people with and without chronic health conditions: A narrative review.

The aim of this narrative review was to establish a link between psychological and physical wellbeing in people with and without chronic health conditions who participated in group singing. Four databases were searched (PubMed, WoS, MEDLINE, and Scopus) using a systematic search method. Articles were screened, yielding 19 suitable articles. In most studies that were included group singing led to an increase in both psychological and physiological wellbeing. The major impacts were on affect and depression and anxiety.Group singing positively affects both physical and psychological wellbeing in people with and without chronic health conditions. No direction of causality could be established.

Endoscopic and Computed Tomography Evaluation of Posterior Glottic Closure During Phonation.

OBJECTIVES/HYPOTHESIS: The anatomy of the posterior glottis, specifically the states of the posterior glottis during phonation, has not been thoroughly explored in laryngology. Conventional wisdom about the posterior glottis indicates that it tends to be completely closed in men but may be open in women. Furthermore, professional singers are expected to have a completely closed posterior glottis. The aim of this study was to investigate whether these generalizations are true by comparing rigid videolaryngostroboscopy results with high-resolution computed tomography (HRCT) and three-dimensional (3D) reconstruction findings. STUDY DESIGN: Prospective study. METHODS: Of the 90 volunteers (58 women, 32 men) examined, 48 were female professional singers, 10 were female nonsingers, 22 were male professional singers, and 10 were male nonsingers. Rigid videolaryngostroboscopy as well as HRCT scans were performed during singing at the average singing fundamental frequency. HRCT images of the larynx and air-column were 3D visualized using the software MIMICS®. The states of the posterior glottis were assessed in both examinations and compared among participants. RESULTS: The sensitivity of endoscopy was 67.5%. Complete closure of the posterior glottis was observed in 62.5% men and 52% women (P = .33). Complete closure of the posterior glottis was observed in 35% nonsingers and 61% professional singers (P = .036). CONCLUSIONS: The closure of the posterior glottis seen on videolaryngostroboscopy does not always correlate with actual closure. There seems to be no link between sex and complete closure of the glottis. However, there is strong evidence that posterior glottis closure can be influenced, to some degree, by vocal training. LEVEL OF EVIDENCE: 4 Laryngoscope, 132:124-129, 2022.

The song, not the singer: Infants prefer to listen to familiar songs, regardless of singer identity.

Parent's infant-directed vocalizations are highly dynamic and emotive compared to their adult-directed counterparts, and correspondingly, more effectively capture infants' attention. Infant-directed singing is a specific type of vocalization that is common throughout the world. Parents tend to sing a small handful of songs in a stereotyped way, and a number of recent studies have highlighted the significance of familiar songs in young children's social behaviors and evaluations. To date, no studies have examined whether infants' responses to familiar versus unfamiliar songs are modulated by singer identity (i.e., whether the singer is their own parent). In the present study, we investigated 9- to 12-month-old infants' (N = 29) behavioral and electrodermal responses to relatively familiar and unfamiliar songs sung by either their own mother or another infant's mother. Familiar songs recruited more attention and rhythmic movement, and lower electrodermal levels relative to unfamiliar songs. Moreover, these responses were robust regardless of whether the singer was their mother or a stranger, even when the stranger's rendition differed greatly from their mothers' in mean fundamental frequency and tempo. Results indicate that infants' interest in familiar songs is not limited to idiosyncratic characteristics of their parents' song renditions, and points to the potential for song as an effective early signifier of group membership.

Spatiotemporal droplet dispersion measurements demonstrate face masks reduce risks from singing.

COVID-19 has restricted singing in communal worship. We sought to understand variations in droplet transmission and the impact of wearing face masks. Using rapid laser planar imaging, we measured droplets while participants exhaled, said 'hello' or 'snake', sang a note or 'Happy Birthday', with and without surgical face masks. We measured mean velocity magnitude (MVM), time averaged droplet number (TADN) and maximum droplet number (MDN). Multilevel regression models were used. In 20 participants, sound intensity was 71 dB for speaking and 85 dB for singing (p < 0.001). MVM was similar for all tasks with no clear hierarchy between vocal tasks or people and > 85% reduction wearing face masks. Droplet transmission varied widely, particularly for singing. Masks decreased TADN by 99% (p < 0.001) and MDN by 98% (p < 0.001) for singing and 86-97% for other tasks. Masks reduced variance by up to 48%. When wearing a mask, neither singing task transmitted more droplets than exhaling. In conclusion, wide variation exists for droplet production. This significantly reduced when wearing face masks. Singing during religious worship wearing a face mask appears as safe as exhaling or talking. This has implications for UK public health guidance during the COVID-19 pandemic.

Singers show enhanced performance and neural representation of vocal imitation.

Humans have a remarkable capacity to finely control the muscles of the larynx, via distinct patterns of cortical topography and innervation that may underpin our sophisticated vocal capabilities compared with non-human primates. Here, we investigated the behavioural and neural correlates of laryngeal control, and their relationship to vocal expertise, using an imitation task that required adjustments of larynx musculature during speech. Highly trained human singers and non-singer control participants modulated voice pitch and vocal tract length (VTL) to mimic auditory speech targets, while undergoing real-time anatomical scans of the vocal tract and functional scans of brain activity. Multivariate analyses of speech acoustics, larynx movements and brain activation data were used to quantify vocal modulation behaviour and to search for neural representations of the two modulated vocal parameters during the preparation and execution of speech. We found that singers showed more accurate task-relevant modulations of speech pitch and VTL (i.e. larynx height, as measured with vocal tract MRI) during speech imitation; this was accompanied by stronger representation of VTL within a region of the right somatosensory cortex. Our findings suggest a common neural basis for enhanced vocal control in speech and song. This article is part of the theme issue 'Voice modulation: from origin and mechanism to social impact (Part I)'.

The influence of gravity on respiratory kinematics during phonation measured by dynamic magnetic resonance imaging.

Respiratory kinematics are important for the regulation of voice production. Dynamic MRI is an excellent tool to study respiratory motion providing high-resolution cross-sectional images. Unfortunately, in clinical MRI systems images can only be acquired in a horizontal subject position, which does not take into account gravitational effects on the respiratory apparatus. To study the effect of body posture on respiratory kinematics during phonation, 8 singers were examined both in an open-configuration MRI with a rotatable gantry and a conventional horizontal MRI system. During dynamic MRI the subjects sang sustained tones at different pitches in both supine and upright body positions. Sagittal images of the respiratory system were obtained at 1-3 images per second, from which 6 anatomically defined distances were extracted to characterize its movements in the anterior, medium and posterior section of the diaphragm as well as the rip cage (diameter at the height of the 3rd and 5th rip) and the anterior-posterior position of the diaphragm cupola. Regardless of body position, singers maintained their general principles of respiratory kinematics with combined diaphragm and thorax muscle activation for breath support. This was achieved by expanding their chest an additional 20% during inspiration when singing in the supine position but not for sole breathing. The diaphragm was cranially displaced in supine position for both singing and breathing and its motion range increased. These results facilitate a more realistic extrapolation of research data obtained in a supine position.

Substituting facial movements in singers changes the sounds of musical intervals.

Cross-modal integration is ubiquitous within perception and, in humans, the McGurk effect demonstrates that seeing a person articulating speech can change what we hear into a new auditory percept. It remains unclear whether cross-modal integration of sight and sound generalizes to other visible vocal articulations like those made by singers. We surmise that perceptual integrative effects should involve music deeply, since there is ample indeterminacy and variability in its auditory signals. We show that switching videos of sung musical intervals changes systematically the estimated distance between two notes of a musical interval so that pairing the video of a smaller sung interval to a relatively larger auditory led to compression effects on rated intervals, whereas the reverse led to a stretching effect. In addition, after seeing a visually switched video of an equally-tempered sung interval and then hearing the same interval played on the piano, the two intervals were judged often different though they differed only in instrument. These findings reveal spontaneous, cross-modal, integration of vocal sounds and clearly indicate that strong integration of sound and sight can occur beyond the articulations of natural speech.

Regular rhythmic and audio-visual stimulations enhance procedural learning of a perceptual-motor sequence in healthy adults: A pilot study.

Procedural learning is essential for the effortless execution of many everyday life activities. However, little is known about the conditions influencing the acquisition of procedural skills. The literature suggests that sensory environment may influence the acquisition of perceptual-motor sequences, as tested by a Serial Reaction Time Task. In the current study, we investigated the effects of auditory stimulations on procedural learning of a visuo-motor sequence. Given that the literature shows that regular rhythmic auditory rhythm and multisensory stimulations improve motor speed, we expected to improve procedural learning (reaction times and errors) with repeated practice with auditory stimulations presented either simultaneously with visual stimulations or with a regular tempo, compared to control conditions (e.g., with irregular tempo). Our results suggest that both congruent audio-visual stimulations and regular rhythmic auditory stimulations promote procedural perceptual-motor learning. On the contrary, auditory stimulations with irregular or very quick tempo alter learning. We discuss how regular rhythmic multisensory stimulations may improve procedural learning with respect of a multisensory rhythmic integration process.