Operatic voices engage the default mode network in professional opera singers.

Extensive research with musicians has shown that instrumental musical training can have a profound impact on how acoustic features are processed in the brain. However, less is known about the influence of singing training on neural activity during voice perception, particularly in response to salient acoustic features, such as the vocal vibrato in operatic singing. To address this gap, the present study employed functional magnetic resonance imaging (fMRI) to measure brain responses in trained opera singers and musically untrained controls listening to recordings of opera singers performing in two distinct styles: a full operatic voice with vibrato, and a straight voice without vibrato. Results indicated that for opera singers, perception of operatic voice led to differential fMRI activations in bilateral auditory cortical regions and the default mode network. In contrast, musically untrained controls exhibited differences only in bilateral auditory cortex. These results suggest that operatic singing training triggers experience-dependent neural changes in the brain that activate self-referential networks, possibly through embodiment of acoustic features associated with one's own singing style.

Self-perception of voice and knowledge of vocal health and hygiene in Candomblé religious leaders in Brazil. / Autopercepção da voz e conhecimento em saúde e higiene vocal de líderes religiosos do Candomblé no Brasil.

PURPOSE: To verify possible complaints, voice and aerodigestive symptoms, singing voice handicap, and knowledge of vocal health and hygiene in Candomblé religious leaders in Brazil. METHODS: The study comprised 112 individuals who filled out a questionnaire with their identification and characterization, the stratified classification of their professional activities, and their self-perception of voice. Three self-assessment protocols - VoiSS, QSHV, and MSHI - were also used. RESULTS: The self-assessment of voice ranged from average to good. VoiSS mean total score was 23.04, which is above the cutoff. QSHV mean score was 23.54 points, which is near the cutoff. MSHI mean score (the perception of singing voice handicap) was 25.66 points. There was a substantially strong positive correlation between VoiSS and MSHI total scores (0.789; p<0.001). Women had higher limitation scores (p=0.012) and total scores (p=0.012) in VoiSS and higher handicap scores (p=0.038) in MSHI. Level I professionals - vocal elite (singers and actors) - had significantly higher QSHV scores than those in levels IV (p=0.010) and V (p=0.008). Most respondents had not visited an otorhinolaryngologist (89.29%) within the last year and had not been submitted to speech therapy (83.04%) for voice complaints. CONCLUSION: Candomblé leaders, particularly women, perceived voice symptoms and singing voice handicaps, with no relationship with their knowledge of vocal health and hygiene. Despite the complaints, most subjects reported not having visited health professionals responsible for voice care within the last year.

OBJETIVO: Verificar a autopercepção de sintomas vocais e aerodigestivos, desvantagem vocal no canto e o conhecimento em saúde e higiene vocal em líderes religiosos do Candomblé do Brasil. MÉTODO: Participaram deste estudo 112 indivíduos, que preencheram virtualmente um questionário de identificação, caracterização, classificação das atividades profissionais em níveis e autoavaliação vocal no momento atual, além de três protocolos de autoavaliação: Escala de Sinais e Sintomas (ESV), Questionário de Saúde e Higiene Vocal (QSHV) e Índice de Desvantagem para o Canto Moderno (IDCM). Foram utilizados os testes de correlação de Spearman, teste de Mann-Whitney e teste de Kruskal-Wallis. RESULTADOS: A autoavaliação vocal no momento atual variou de razoável a boa. A média do escore total na ESV foi de 23,04, acima da nota de corte. O QSHV apresentou valor médio de 23,54 pontos, próximo à nota de corte. O Índice de Desvantagem para o Canto Moderno (IDCM) mostrou média de 25,66 pontos. Houve correlação positiva de força substancial entre os escores totais da ESV e IDCM (0,789). Mulheres apresentaram maiores escores no ESV total e ESV limitação, além de maior escore no IDCM desvantagem. Profissionais do nível I - elite vocal (cantores e atores) apresentaram escores significativamente maiores para o QSHV que os profissionais do grupo IV (usuário não profissional não-vocal) e os do nível V (pessoas que estão fora do mercado de trabalho). A maioria dos respondentes não consultou Otorrinolaringologista (89,29%) no último ano e nem realizou fonoterapia (83,04%) por queixas vocais. CONCLUSÃO: Líderes do Candomblé apresentaram percepção de sintomas vocais e desvantagem vocal no canto, mais evidente nas mulheres, não havendo relação com o conhecimento de saúde e higiene vocal. Apesar da identificação de sintomas vocais, a maior parte dos sujeitos relatou não ter acessado profissionais de saúde responsáveis por esses cuidados com a voz no último ano.

Impact of interference on vocal and instrument recognition.

Voices arguably occupy a superior role in auditory processing. Specifically, studies have reported that singing voices are processed faster and more accurately and possess greater salience in musical scenes compared to instrumental sounds. However, the underlying acoustic features of this superiority and the generality of these effects remain unclear. This study investigates the impact of frequency micro-modulations (FMM) and the influence of interfering sounds on sound recognition. Thirty young participants, half with musical training, engage in three sound recognition experiments featuring short vocal and instrumental sounds in a go/no-go task. Accuracy and reaction times are measured for sounds from recorded samples and excerpts of popular music. Each sound is presented in separate versions with and without FMM, in isolation or accompanied by a piano. Recognition varies across sound categories, but no general vocal superiority emerges and no effects of FMM. When presented together with interfering sounds, all sounds exhibit degradation in recognition. However, whereas /a/ sounds stand out by showing a distinct robustness to interference (i.e., less degradation of recognition), /u/ sounds lack this robustness. Acoustical analysis implies that recognition differences can be explained by spectral similarities. Together, these results challenge the notion of general vocal superiority in auditory perception.

Factors influencing the minimum audible change in talker head orientation cues using diotic stimuli.

The perception of a talker's head orientation is an ecologically relevant task. Humans are able to discriminate changes in talker head orientation using acoustic cues. Factors that may influence measures of this ability have not been well characterized. Here, we examined the minimum audible change in head orientation cues (MACHO) using diotic stimuli. The effects of several factors were tested: talker and gender, stimulus bandwidth (full-band vs low-pass filtered at 8 or 10 kHz), transducer (loudspeaker vs headphone), stimulus uncertainty (interleaved vs blocked presentation of four talkers), and vocal production mode (speech vs singing). The best performance of ∼41° was achieved for full-band, blocked presentation of speech over a loudspeaker. Greater stimulus uncertainty (interleaved presentation) worsened the MACHO by 26%. Bandlimiting at 8 and 10 kHz worsened performance by an additional 22% and 14%, respectively. At equivalent overall sound levels, performance was better for speech than for singing. There was some limited evidence for the transducer influencing the MACHO. These findings suggest the MACHO relies on multiple factors manipulated here. One of the largest, consistent effects was that of talker, suggesting head orientation cues are highly dependent on individual talker characteristics. This may be due to individual variability in speech directivity patterns.

Music-Making and Depression and Anxiety Before and During the COVID-19 Pandemic-Results From the NAKO Cohort Study in Germany.

Objectives: To investigate the association of musical activity with mental health during the COVID-19 pandemic. Methods: A total of 3,666 participants reported their musical activity before and mental health indicators before and during the pandemic. Depression was assessed with the Patient Health Questionnaire, anxiety with the Generalized Anxiety Disorder scale. The association between mental health scores and musical activities was investigated using linear regression. Results: Within the last 12 months, 22.1% of the participants reported musical activity (15.1% singing, 14.5% playing an instrument). Individuals with frequent singing as their main musical activity had higher scores before the pandemic than non-musicians and the worsening during the pandemic was more pronounced compared to non-musicians. Instrumentalists tended to have slightly lower scores than non-musicians indicating a possible beneficial effect of playing an instrument on mental health. Conclusion: The pandemic led to a worsening of mental health, with singers being particularly affected. Singers showed poorer mental health before the pandemic. The tendency for instrumentalists to report lower depression scores compared to non-musicians may support the hypothesis that music-making has a beneficial effect on health.

The blushing brain: neural substrates of cheek temperature increase in response to self-observation.

Darwin proposed that blushing-the reddening of the face owing to heightened self-awareness-is 'the most human of all expressions'. Yet, relatively little is known about the underlying mechanisms of blushing. Theories diverge on whether it is a rapid, spontaneous emotional response that does not involve reflection upon the self or whether it results from higher-order socio-cognitive processes. Investigating the neural substrates of blushing can shed light on the mental processes underlying blushing and the mechanisms involved in self-awareness. To reveal neural activity associated with blushing, 16-20 year-old participants (n = 40) watched pre-recorded videos of themselves (versus other people as a control condition) singing karaoke in a magnetic resonance imaging scanner. We measured participants' cheek temperature increase-an indicator of blushing-and their brain activity. The results showed that blushing is higher when watching oneself versus others sing. Those who blushed more while watching themselves sing had, on average, higher activation in the cerebellum (lobule V) and the left paracentral lobe and exhibited more time-locked processing of the videos in early visual cortices. These findings show that blushing is associated with the activation of brain areas involved in emotional arousal, suggesting that it may occur independently of higher-order socio-cognitive processes. Our results provide new avenues for future research on self-awareness in infants and non-human animals.

Singing Does Not Necessarily Improve Memory More Than Reading Aloud.

The production effect refers to the finding that words read aloud are better remembered than words read silently. This finding is typically attributed to the presence of additional sensorimotor features appended to the memory trace by the act of reading aloud, which are not present for items read silently. Supporting this perspective, the production effect tends to be larger for singing (the singing superiority effect) than reading aloud, possibly due to the inclusion of further sensorimotor features (e.g., more pronounced tone). However, the singing superiority effect has not always replicated. Across four experiments, we demonstrate a production effect for items read aloud but observe a singing superiority effect only when items are tested in the same color in which they were studied (with foils randomized to color). A series of meta-analytic models revealed the singing superiority effect to be smaller than previously thought and to emerge only when test items are presented in the same color in which they were studied. This outcome is inconsistent with common distinctiveness-based theoretical accounts.

Newborn's neural representation of instrumental and vocal music as revealed by fMRI: A dynamic effective brain connectivity study.

Music is ubiquitous, both in its instrumental and vocal forms. While speech perception at birth has been at the core of an extensive corpus of research, the origins of the ability to discriminate instrumental or vocal melodies is still not well investigated. In previous studies comparing vocal and musical perception, the vocal stimuli were mainly related to speaking, including language, and not to the non-language singing voice. In the present study, to better compare a melodic instrumental line with the voice, we used singing as a comparison stimulus, to reduce the dissimilarities between the two stimuli as much as possible, separating language perception from vocal musical perception. In the present study, 45 newborns were scanned, 10 full-term born infants and 35 preterm infants at term-equivalent age (mean gestational age at test = 40.17 weeks, SD = 0.44) using functional magnetic resonance imaging while listening to five melodies played by a musical instrument (flute) or sung by a female voice. To examine the dynamic task-based effective connectivity, we employed a psychophysiological interaction of co-activation patterns (PPI-CAPs) analysis, using the auditory cortices as seed region, to investigate moment-to-moment changes in task-driven modulation of cortical activity during an fMRI task. Our findings reveal condition-specific, dynamically occurring patterns of co-activation (PPI-CAPs). During the vocal condition, the auditory cortex co-activates with the sensorimotor and salience networks, while during the instrumental condition, it co-activates with the visual cortex and the superior frontal cortex. Our results show that the vocal stimulus elicits sensorimotor aspects of the auditory perception and is processed as a more salient stimulus while the instrumental condition activated higher-order cognitive and visuo-spatial networks. Common neural signatures for both auditory stimuli were found in the precuneus and posterior cingulate gyrus. Finally, this study adds knowledge on the dynamic brain connectivity underlying the newborns capability of early and specialized auditory processing, highlighting the relevance of dynamic approaches to study brain function in newborn populations.

Accessory respiratory muscles performance among people with spinal cord injury while singing songs with different musical parameters.

People with spinal cord injury (SCI) experience respiratory dysfunctions which include hypersecretions, bronchospasm, and respiratory muscles weakness. Singing therapy has been implemented as part of respiratory muscle training (RMT) to improve their muscle strength. Singing different types and genres of songs may elicit specific recruitment of respiratory muscles, attributed to the variation of the songs' characteristics including tempo, pitch, and rhythmic complexity. This study aims to determine the effect of singing songs with different characteristics on the accessory respiratory muscle performance among people with SCI. Thirteen male SCI participants of ASIA A and B (C4 -T11) were recruited. Respiratory muscle signals were retrieved by placing two mechanomyography (MMG) sensors on the sternocleidomastoid (SCM) and rectus abdominis (RA) muscles. Eight music experts categorized several songs into four categories based on their pitch, tempo, and rhythmic complexity. Each participant sang one song from each category. Findings showed statistically significant difference in RA and SCM responses among all categories (P < 0.01). The SCM muscle is most active while singing high pitch songs. While the RA is most active during slow tempo and easy rhythmic complexity. This shows that different accessory respiratory muscle is activated by people with SCI while singing songs with different characteristics. Clinicians could benefit from this knowledge while prescribing singing therapy or exercise among people with SCI in the future.

Psychobiological responses to choir singing and creative arts activities in children and adolescents with mental disorders: results of a pilot study.

BACKGROUND: Children and adolescents living with mental health problems often experience stress and poor mood states, which may influence their quality of life and well-being. Arts interventions may improve mood and well-being and reduce physiological stress in this vulnerable population. METHODS: A cohort of patients in child and adolescent psychiatry (N = 42; age range: 12-18 years) participated in one of four arts activities including choir singing (n = 11), textile design (n = 9), drama (n = 16), and clownery (n = 6). They were led by professional artists and delivered through five consecutive 90-min daily afternoon sessions over the course of 1 week. Questionnaires of mood and saliva samples before and after each session served to assess short-term psychobiological changes. In addition, patients reported their quality of life and well-being at the beginning and at the end of the 1­week program. RESULTS: Results showed that alertness was significantly enhanced after textile design (∆post-pre = 4.08, 95% CI [0.77, 7.39]) and after singing (∆post-pre = 2.20, 95% CI [-0.55, 4.94]). Moreover, mood tended to be positively affected by textile design (∆post-pre = 2.89, 95% CI [-0.39, 6.18]). Quality of life increased significantly after singing (∆post-pre = 5.49, 95% CI [1.05, 9.92]). Arts participation except singing was associated with significant reductions in salivary cortisol (sCort) (textile design ∆post-pre = -0.81 ng/mL, 95% CI [-1.48, -0.14]; drama ∆post-pre = -0.76 ng/mL, 95% CI [-1.28, -0.24]; clownery ∆post-pre = -0.74 ng/mL, 95% CI [-1.47, -0.01]). No significant changes were observed for well-being over the whole program and salivary immunoglobulin A (sIgA) after any of the arts activities. DISCUSSION: These results suggest that arts participation can improve mood state and reduce stress in young people with mental disorders, but there is a need for further studies.

Exploring Interactive Songs as a Vocabulary Input Context.

PURPOSE: Interactive songs are a common shared activity for many families and within early childhood classrooms. These activities have the potential to be rich sources of vocabulary input for children with and without language impairments. However, little information is known about the how caregivers currently provide input for different types of vocabulary during these activities. The purpose of this research note is to provide preliminary information on how caregivers provide input related to verbs within an interactive song activity. METHOD: Observations of caregivers engaging in song activities with their child were collected. The gestures used during the interactions were coded. RESULTS: The results show that, when given examples, caregivers provide gestural input both frequently and consistently. CONCLUSIONS: Clinical implications and future directions for exploring songs as an intervention context are discussed.

Systematic Review: Singing-Based Interventions to Improve Physical Functions Related to Aging Voice in Older Adults.

PURPOSE: This systematic review aimed to evaluate the effects of singing as an intervention for aging voice. METHOD: Quantitative studies of interventions for older adults with any medical condition that involves singing as training were reviewed, measured by respiration, phonation, and posture, which are the physical functions related to the aging voice. English and Chinese studies published until April 2024 were searched using 31 electronic databases, and seven studies were included. The included articles were assessed according to the Grading of Recommendations, Assessment, Development, and Evaluations rubric. RESULTS: Seven studies were included. These studies reported outcome measures that were related to respiratory functions only. For the intervention effect, statistically significant improvements were observed in five of the included studies, among which three studies had large effect sizes. The overall level of evidence of the included studies was not high, with three studies having moderate levels and the rest having lower levels. The intervention activities included trainings other than singing. These non-singing training items may have caused co-intervention bias in the study results. CONCLUSIONS: This systematic review suggests that singing as an intervention for older adults with respiratory and cognitive problems could improve respiration and respiratory-phonatory control. However, none of the included studies covers the other two of the physical functions related to aging voice (phonatory and postural functions). The overall level of evidence of the included studies was not high either. There is a need for more research evidence in singing-based intervention specifically for patient with aging voice.

Vocal risk mapping in classical singers: an analysis of the self-perception of voice quality, vocal fatigue, and singing voice handicap. / Mapeamento do risco vocal em cantores eruditos: análise da autopercepção da qualidade da voz, fadiga vocal e desvantagem no canto.

PURPOSE: To map the vocal risk in professional classical singers, analyzing their self-assessment of voice and self-perception of singing voice handicap and vocal fatigue. METHODS: The study sample comprised of 52 professional classical choir singers, aged 31 to 72 years. They answered an online questionnaire in Google Forms, addressing their characterization, self-assessment of voice, the Voice Handicap Index-10 (VHI-10), Classical Singing Handicap Index (CSHI), and Vocal Fatigue Index (VFI). RESULTS: The mean self-assessment of voice was between "Good" and "Very good" (1.2). The mean total VHI-10 score was 1.35, which is below the cutoff. The mean total CSHI score was 10.04. The mean total VFI score was 10.83, near the cutoff value. Classical singers who use their voice to give examples to students in their classes had higher scores in VHI-10 (p = 0.013), VFI voice restriction (p = 0.011), and VFI total score (p = 0.015). Besides, classical singers who already visited a Speech-Language Pathologist for voice problems had higher scores in VFI voice restriction (p = 0.040) and VFI recovery with voice rest (p = 0.019), in addition to correlations between instrument scores. CONCLUSION: Professional classical singers did not have voice handicaps. However, their self-perception of vocal fatigue was more present when the singing voice was used, such as giving examples with their own voice in class. Having had voice problems and visited a Speech-Language Pathologist in the past led to a greater perception of vocal recovery with rest.

OBJETIVO: Mapear o risco vocal em cantores eruditos profissionais, analisando sua autoavaliação vocal e autopercepção de desvantagem vocal no canto e fadiga vocal. MÉTODO: Participaram deste estudo 52 cantores eruditos de coros profissionais, entre 31 e 72 anos, que preencheram online (Formulários Google) um questionário de caracterização, autoavaliação vocal, bem como os instrumentos Índice de Desvantagem Vocal 10 - IDV-10, Índice de Desvantagem para o Canto Clássico - IDCC e Índice de Fadiga Vocal - IFV. RESULTADOS: A média da autoavaliação vocal ficou entre "Boa" e "Muito boa" (1,2). A média do escore total do IDV-10 foi 1,35, abaixo da nota de corte. A média do escore total do IDCC foi 10,04. A média do escore total do IFV foi de 10,83, próxima da nota de corte. Cantores eruditos que, em suas aulas, dão exemplos aos alunos com a própria voz apresentam maiores escores nos instrumentos IDV-10 (p=0,013), IFV restrição vocal (p=0,011) e IFV escore total (p=0,015). Cantores eruditos que já procuraram fonoaudiólogo devido a problemas de voz apresentam maiores escores no IFV fator restrição vocal (p=0,040) e no IFV fator recuperação com repouso vocal (p=0,019), além de terem correlações entre os escores dos instrumentos. CONCLUSÃO: Cantores eruditos profissionais não apresentam desvantagem vocal. Porém, questões relacionadas à autopercepção de fadiga vocal se mostram mais presentes quando relacionadas às atividades de uso da voz cantada, como dar exemplos em aulas com a própria voz. Ter tido problema vocal e procurado fonoaudiólogo no passado proporciona maior percepção de recuperação vocal com repouso.

Who is singing? Voice recognition from spoken versus sung speech.

Singing is socially important but constrains voice acoustics, potentially masking certain aspects of vocal identity. Little is known about how well listeners extract talker details from sung speech or identify talkers across the sung and spoken modalities. Here, listeners (n = 149) were trained to recognize sung or spoken voices and then tested on their identification of these voices in both modalities. Learning vocal identities was initially easier through speech than song. At test, cross-modality voice recognition was above chance, but weaker than within-modality recognition. We conclude that talker information is accessible in sung speech, despite acoustic constraints in song.

Spectro-temporal acoustical markers differentiate speech from song across cultures.

Humans produce two forms of cognitively complex vocalizations: speech and song. It is debated whether these differ based primarily on culturally specific, learned features, or if acoustical features can reliably distinguish them. We study the spectro-temporal modulation patterns of vocalizations produced by 369 people living in 21 urban, rural, and small-scale societies across six continents. Specific ranges of spectral and temporal modulations, overlapping within categories and across societies, significantly differentiate speech from song. Machine-learning classification shows that this effect is cross-culturally robust, vocalizations being reliably classified solely from their spectro-temporal features across all 21 societies. Listeners unfamiliar with the cultures classify these vocalizations using similar spectro-temporal cues as the machine learning algorithm. Finally, spectro-temporal features are better able to discriminate song from speech than a broad range of other acoustical variables, suggesting that spectro-temporal modulation-a key feature of auditory neuronal tuning-accounts for a fundamental difference between these categories.

Biomechanics of sound production in high-pitched classical singing.

Voice production of humans and most mammals is governed by the MyoElastic-AeroDynamic (MEAD) principle, where an air stream is modulated by self-sustained vocal fold oscillation to generate audible air pressure fluctuations. An alternative mechanism is found in ultrasonic vocalizations of rodents, which are established by an aeroacoustic (AA) phenomenon without vibration of laryngeal tissue. Previously, some authors argued that high-pitched human vocalization is also produced by the AA principle. Here, we investigate the so-called "whistle register" voice production in nine professional female operatic sopranos singing a scale from C6 (≈ 1047 Hz) to G6 (≈ 1568 Hz). Super-high-speed videolaryngoscopy revealed vocal fold collision in all participants, with closed quotients from 30 to 73%. Computational modeling showed that the biomechanical requirements to produce such high-pitched voice would be an increased contraction of the cricothyroid muscle, vocal fold strain of about 50%, and high subglottal pressure. Our data suggest that high-pitched operatic soprano singing uses the MEAD mechanism. Consequently, the commonly used term "whistle register" does not reflect the physical principle of a whistle with regard to voice generation in high pitched classical singing.

Musical activity in a subsample of the German National Cohort study.

Musical activities (MA) such as singing, playing instruments, and listening to music may be associated with health benefits. However, evidence from epidemiological studies is still limited. This study aims at describing the relation between MA and both sociodemographic and health-related factors in a cross-sectional approach. A total of 6717 adults (50.3% women, 49.7% men, median age: 51 years (IQR 43-60) were recruited from the study center Berlin-Mitte of the German National Cohort (NAKO), a population-based prospective study. This study is based on a sample randomly selected from the population registry of Berlin, Germany, aged 20 to 69 years. 53% of the participants had been musically active at least once in their life (56.1% women, 43.9% men). Playing keyboard instruments (30%) and singing (21%) were the most frequent MA. Participants listened to music in median 90 min per day (IQR 30.0-150.0). Musically active individuals were more likely to have a higher education, higher alcohol consumption, were less likely to be physically active, and had a lower BMI compared to musically inactive individuals. This large population-based study offers a comprehensive description of demographic, health, and lifestyle characteristics associated with MA. Our findings may aid in assessing long-term health consequences of MA.

Preaching Through the Choir. What Interprofessional Education Can Learn From Choir Singing.

Collaboration between healthcare professionals from different backgrounds is a true art to be mastered. During interprofessional education (IPE), learners from different professions learn with, from and about each other. Landscape of Practice (LoP) theory can offer insight into social learning in IPE, but its application is rather complex. We argue that choir singing offers a helpful metaphor to understand different concepts in LoP (brokers, engagement, imagination and alignment) and how they are manifested in IPE. Based on similarities between choir singing and IPE, we present four lessons: 1) The teacher sets the tone: a lesson for brokers; 2) You can only learn so much alone: a lesson for engagement; 3) Listening is not as easy as it sounds: a lesson for imagination and 4) A song is more than the sum of its parts: a lesson for alignment. Moreover, we reflect on differences between choir singing and IPE, and insights from these differences.

Choir singing is associated with enhanced structural connectivity across the adult lifespan.

The global ageing of populations calls for effective, ecologically valid methods to support brain health across adult life. Previous evidence suggests that music can promote white matter (WM) microstructure and grey matter (GM) volume while supporting auditory and cognitive functioning and emotional well-being as well as counteracting age-related cognitive decline. Adding a social component to music training, choir singing is a popular leisure activity among older adults, but a systematic account of its potential to support healthy brain structure, especially with regard to ageing, is currently missing. The present study used quantitative anisotropy (QA)-based diffusion MRI connectometry and voxel-based morphometry to explore the relationship of lifetime choir singing experience and brain structure at the whole-brain level. Cross-sectional multiple regression analyses were carried out in a large, balanced sample (N = 95; age range 21-88) of healthy adults with varying levels of choir singing experience across the whole age range and within subgroups defined by age (young, middle-aged, and older adults). Independent of age, choir singing experience was associated with extensive increases in WM QA in commissural, association, and projection tracts across the brain. Corroborating previous work, these overlapped with language and limbic networks. Enhanced corpus callosum microstructure was associated with choir singing experience across all subgroups. In addition, choir singing experience was selectively associated with enhanced QA in the fornix in older participants. No associations between GM volume and choir singing were found. The present study offers the first systematic account of amateur-level choir singing on brain structure. While no evidence for counteracting GM atrophy was found, the present evidence of enhanced structural connectivity coheres well with age-typical structural changes. Corroborating previous behavioural studies, the present results suggest that regular choir singing holds great promise for supporting brain health across the adult life span.

Singing for lung health in COPD: a multicentre randomised controlled trial of online delivery.

BACKGROUND: Singing for lung health (SLH) is an arts-based breathing control and movement intervention for people with long-term respiratory conditions, intended to improve symptoms and quality of life. Online, remotely delivered programmes might improve accessibility; however, no previous studies have assessed the effectiveness of this approach. METHODS: We conducted an assessor-blind randomised controlled trial comparing the impact of 12 weeks of once-weekly online SLH sessions against usual care on health-related quality of life, assessed using the RAND 36-Item Short Form Health Survey (SF-36) Mental Health Composite (MHC) and Physical Health Composite (PHC) scores. RESULTS: We enrolled 115 people with stable chronic obstructive pulmonary disease (COPD), median (IQR) age 69 (62-74), 56.5% females, 80% prior pulmonary rehabilitation, Medical Research Council dyspnoea scale 4 (3-4), forced expiratory volume in 1 s % predicted 49 (35-63). 50 participants in each arm completed the study. The intervention arm experienced improvements in physical but not mental health components of RAND SF-36; PHC (regression coefficient (95% CI): 1.77 (95% CI 0.11 to 3.44); p=0.037), but not MHC (0.86 (95% CI -1.68 to 3.40); p=0.504). A prespecified responder analysis based on achieving a 10% improvement from baseline demonstrated a response rate for PHC of 32% in the SLH arm and 12.7% for usual care (p=0.024). A between-group difference in responder rate was not found in relation to the MHC (19.3% vs 25.9%; p=0.403). DISCUSSION AND CONCLUSION: A 12-week online SLH programme can improve the physical component of quality of life for people with COPD, but the overall effect is relatively modest compared with the impact seen in research using face-to-face group sessions. Further work on the content, duration and dose of online interventions may be useful. TRIAL REGISTRATION NUMBER: NCT04034212.