DOCSLIB.ORG

Laryngeal Physiology and Terminology in CCM Singing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Laryngeal Physiology and Terminology in CCM Singing Faculty of Education Ingvild Vestfall Master’s thesis Laryngeal physiology and terminology in CCM singing A thesis investigating research on the underlying laryngeal physiology of CCM singing techniques, and experiences of teaching CCM genres to adolescents Stemmefysiologi og terminologi i CCM/rytmisk sang En studie av forskning på stemmefysiologi knyttet til sangteknikker i CCM/rytmiske sjangere, og erfaringer med å undervise ungdommer i CCM/rytmisk sang Master in Culture and Language 2018 Consent to lending by University College Library YES ☒ NO ☐ Consent to accessibility in digital archive Brage YES ☒ NO ☐ ii TABLE OF CONTENTS TABLE OF CONTENTS.................................................................................................................. III LIST OF TABLES ........................................................................................................................... V LIST OF FIGURES ........................................................................................................................ VI ABSTRACT ................................................................................................................................. VII SAMMENDRAG (IN NORWEGIAN) .............................................................................................. VIII PREFACE ..................................................................................................................................... IX 1 INTRODUCTION ......................................................................................................................... 1 1.1. RESEARCH QUESTIONS ................................................................................................................................... 2 1.2. STRUCTURE OF THE THESIS ............................................................................................................................ 3 1.3. DEFINITIONS AND CONCEPTUALIZATIONS ...................................................................................................... 3 1.4. PREVIOUS RESEARCH ON CCM SINGING IN NORWAY .................................................................................... 4 2 METHODS ................................................................................................................................. 6 2.1. QUALITATIVE RESEARCH AND CHOICE OF METHOD ....................................................................................... 6 2.2. HERMENEUTICS ............................................................................................................................................. 8 2.3. THE DOCUMENT ANALYSIS ............................................................................................................................ 9 2.3.1. A critical look at the analysis and validity .......................................................................................... 10 2.3.2. Finding relevant material: About the selection of documents ............................................................ 11 2.3.3. Categorization of documents .............................................................................................................. 13 2.3.4. Analysis of the documents ................................................................................................................... 14 2.4. THE INTERVIEWS.......................................................................................................................................... 15 2.4.1. Sampling of interviewees .................................................................................................................... 16 2.4.2. Interview planning and procedures .................................................................................................... 17 2.4.3. Transcriptions ..................................................................................................................................... 18 2.4.4. Translations ........................................................................................................................................ 19 2.4.5. Categorization, coding, and analysis of the interviews ...................................................................... 19 2.5. ETHICAL CONSIDERATIONS .......................................................................................................................... 20 2.6. TRIANGULATION OF DOCUMENT ANALYSIS AND INTERVIEWS ..................................................................... 21 3 DOCUMENT ANALYSIS: TERMINOLOGY AND UNDERLYING LARYNGEAL PHYSIOLOGY OF CCM VOICE PRODUCTION ................................................................................................................... 22 3.1. ANATOMY AND PHYSIOLOGY ...................................................................................................................... 22 3.2. THE LARYNX ............................................................................................................................................... 23 3.2.1. Cartilages and membranes ................................................................................................................. 23 3.2.2. Vestibular and vocal folds................................................................................................................... 26 3.2.3. Bones ................................................................................................................................................... 32 3.2.4. Laryngeal muscles............................................................................................................................... 33 3.3. PHONATION.................................................................................................................................................. 40 3.3.1. One vibratory cycle ............................................................................................................................. 41 3.3.2. Onsets .................................................................................................................................................. 42 3.4. REGISTERS ................................................................................................................................................... 44 3.4.1. M0 ....................................................................................................................................................... 46 3.4.2. M1 ....................................................................................................................................................... 47 3.4.3. M2 ....................................................................................................................................................... 48 3.4.4. M3 ....................................................................................................................................................... 48 3.4.5. Bi-stable vocal fold adduction ............................................................................................................ 50 3.4.6. ‘In between’ two registers ................................................................................................................... 53 3.4.7. Transitions .......................................................................................................................................... 53 iii 3.4.8. Two studies looking at transitions ...................................................................................................... 54 3.4.9. Singers and registers ........................................................................................................................... 56 3.4.10. Thyroarytenoid-dominant (TAD) and Cricothyroid-dominant (CTD).............................................. 58 3.4.11. TA contraction................................................................................................................................... 61 3.4.12. Intercartilaginous adduction and membranous medialization ......................................................... 62 3.4.13. Musical Theater ................................................................................................................................ 64 3.4.14. Mix .................................................................................................................................................... 65 3.4.15. Belting and Legit ............................................................................................................................... 66 3.4.16. Healthy voices and configurations of belting ................................................................................... 67 3.4.17. Some thoughts on more extreme vocals ............................................................................................ 70 3.4.18. Other limiting features ...................................................................................................................... 71 4 INTERVIEW FINDINGS: SINGING TEACHERS’ EXPERIENCES OF TEACHING CCM GENRES TO ADOLESCENTS ........................................................................................................................... 72 4.1. SINGING TEACHERS: TERMS, TECHNIQUE, AND TEACHING YOUNGSTERS ..................................................... 72 4.2. TERMINOLOGY ............................................................................................................................................
Load more

Recommended publications
  • 6. Laryngeal Features
    6. Laryngeal features Before you study this chapter, check whether you are familiar with the following terms: allomorph, allophone, aspiration, devoicing, frequency, glottalization, glottal stop, glottis, hiatus, larynx, organs of speech, phoneme, pulmonic egressive airstream, root, sibilant, suffix, syllabic consonant, utterance, vocal cords/folds, voice assimilation, voiced, voiceless, voicing In this chapter we take a look at the articulatory role of the glottis, the vocal cords/folds and all the different phenomena that are related to the operation of the larynx. This includes voicing and voicelessness, (a comparison of English and Hungarian) voice assimilation, devoicing, aspiration and glottalization, and the effect of voicelessness on preceding vowels, Pre-fortis Clipping. Recall from Chapter 1 that the basic mechanism that is used to produce speech sounds in English and Hungarian is a pulmonic egressive airstream mechanism. Having left the lungs, the air continues upward in the windpipe up to the larynx – the front, shield-like part of which is called Adam's apple – then into the pharynx and the supraglottal cavities, the oral and nasal cavities. In the larynx it has to pass between the vocal cords/folds, two bundles of muscle, which may produce numerous different effects. Before discussing these, let us take a look at the structure and parts of the larynx and their different configurations. As it can be seen in the diagram, the larynx consists of some cartilages – one fixed in the front and two movable ones in the back, plus one more on the top not shown in the diagram, the epiglottis, which can close the windpipe, and a circular one serving as the frame for the larynx –, the Laryngeal features vocal cords connecting the cartilages, and the opening between them, the glottis.
    [Show full text]
  • University Microfilms, a XEROX Company, Ann Arbor, Michigan 1971
    71-27,611 FARLEY, Charles Richard, 1925- CONTRASTS IN VOCAL PEDAGOGY: 194-0 AND 1970. The University of Oklahoma, D.Mus.Ed., 1971 Music University Microfilms, A XEROX Company, Ann Arbor, Michigan ©Copyright by Charles Richard Farley 1971 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE CONTRASTS IN VOCAL PEDAGOGY: 1940 AND 1970 A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSIC EDUCATION BY CHARLES RICHARD FARLEY Norman, Oklahoma 1971 CONTRASTS IN VOCAL PEDAGOGY: 1940 AND 1970 APPROVED BY jjSC JIÂjÙ DISSERTATION COMMITTE PLEASE NOTE: Some pages have indistinct print. Filmed as received. UNIVERSITY MICROFILMS. ACKNOWLEDGMENT To my adviser, Dr. Bruce Govich, for his guidance, patience, and enthusiasm; To my Committee for the time and advice graciously extended me; To Dr. Shirley Jones for helpful criticism and encouragement; To Oklahoma Baptist University and my friends there, who have shown me every courtesy; To Jo Nicholson Bond for the careful preparation of this final copy; And to my wife, Jean, and sons, Frazier and Tracy, for their patience, help, and understanding; I express my deep gratitude. iii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION .................................. 1 II. HISTORICAL ORIGINS OF INDIRECT AND DIRECT APPROACHES ........................ 13 III. RESPIRATION ........... 24 IV. PHONATION .......... 51 V. RESONATION ................................. 77 VI. MODULATION ................................... 108 VII. SUMMARY, INTERPRETATION OF FINDINGS, AND RECOMMENDATIONS FOR FURTHER STUDY ......... 153 BIBLIOGRAPHY .......................................... 183 APPENDIX .............................................. 193 iv CONTRASTS IN VOCAL PEDAGOGY: 1940 AND 1970 CHAPTER I INTRODUCTION The purpose of this study is to identify contrasts and to indi­ cate changes which have occurred in methods of teaching singing since the 1940's.
    [Show full text]
  • Lessons for the Vocal Cross-Training Singer and Teacher Lara C
    University of South Carolina Scholar Commons Theses and Dissertations Spring 2019 Bel Canto to Punk and Back: Lessons for the Vocal Cross-Training Singer and Teacher Lara C. Wilson Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Wilson, L. C.(2019). Bel Canto to Punk and Back: Lessons for the Vocal Cross-Training Singer and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5248 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Bel Canto to Punk and Back: Lessons for the Vocal Cross-Training Singer and Teacher by Lara C. Wilson Bachelor of Music Cincinnati College-Conservatory of Music, 1991 Master of Music Indiana University, 1997 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2019 Accepted by: E. Jacob Will, Major Professor J. Daniel Jenkins, Committee Member Lynn Kompass, Committee Member Janet Hopkins, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Lara C. Wilson, 2019 All Rights Reserved ii DEDICATION To my family, David, Dawn and Lennon Hunt, who have given their constant support and unconditional love. To my Mom, Frances Wilson, who has encouraged me through this challenge, among many, always believing in me. Lastly and most importantly, to my husband Andy Hunt, my greatest fan, who believes in me more sometimes than I believe in myself and whose backing has been unwavering.
    [Show full text]
  • Learning [Voice]
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Fall 2010 Learning [Voice] Joshua Ian Tauberer University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the First and Second Language Acquisition Commons Recommended Citation Tauberer, Joshua Ian, "Learning [Voice]" (2010). Publicly Accessible Penn Dissertations. 288. https://repository.upenn.edu/edissertations/288 Please see my home page, http://razor.occams.info, for the data files and scripts that make this reproducible research. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/288 For more information, please contact [email protected]. Learning [Voice] Abstract The [voice] distinction between homorganic stops and fricatives is made by a number of acoustic correlates including voicing, segment duration, and preceding vowel duration. The present work looks at [voice] from a number of multidimensional perspectives. This dissertation's focus is a corpus study of the phonetic realization of [voice] in two English-learning infants aged 1;1--3;5. While preceding vowel duration has been studied before in infants, the other correlates of post-vocalic voicing investigated here --- preceding F1, consonant duration, and closure voicing intensity --- had not been measured before in infant speech. The study makes empirical contributions regarding the development of the production of [voice] in infants, not just from a surface- level perspective but also with implications for the phonetics-phonology interface in the adult and developing linguistic systems. Additionally, several methodological contributions will be made in the use of large sized corpora and data modeling techniques. The study revealed that even in infants, F1 at the midpoint of a vowel preceding a voiced consonant was lower by roughly 50 Hz compared to a vowel before a voiceless consonant, which is in line with the effect found in adults.
    [Show full text]
  • Proutskova, Polina. 2019. Investigating the Singing Voice: Quantitative and Qualitative Ap- Proaches to Studying Cross-Cultural Vocal Production
    Proutskova, Polina. 2019. Investigating the Singing Voice: Quantitative and Qualitative Ap- proaches to Studying Cross-Cultural Vocal Production. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/26133/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Investigating singing voice: quantitative and qualitative approaches to studying cross-cultural vocal production Polina Proutskova PhD Thesis Department of Computing Goldsmiths, University of London 6 October 2017 I hereby declare that, except where explicit attribution is made, the work presented in this thesis is entirely my own. PolinaProutskova 2 Abstract This thesis was motivated by an experiment carried out in the 1960s that stud- ied the relationship between vocal performance practice and society by means of statistical analysis. Using a comprehensive corpus of audio recordings of singing from around the world collected over several decades, the ethnomusicologist Alan Lomax devised the Cantometrics project, the largest comparative study of music, in which 36 performance practice characteristics were rated for each recording. With particular interest in vocal production, we intended to formalise the knowledge of vocal production to enable statistical and computational approaches in the spirit of Cantometrics.
    [Show full text]
  • Reverse Phonation -Physiologic and Clinical Aspects of This Speech Voice
    Rev Bras Otorrinolaringol 2007;73(2):271-7. REVIEW ARTICLE Reverse phonation - physiologic and clinical aspects of this speech voice therapy modality Leila Susana Finger 1, Carla Aparecida Cielo 2 Keywords: voice, speech, language and hearing sciences. Summary Reverse phonation is the voice production during inspiration, accomplished spontaneously in situations such as when a person sighs. Aim: to do a literature review, describing discoveries related to the use of the reverse phonation in the clinical practice, the anatomy and physiology of its production and its effects in vocal treatments; and moreover, indications and problems of the technique for speech disorders treatment and voice enhancement. Results: there were reports of significant changes in vocal treatment during with the use of reverse phonation: ventricular distention, ventricular folds separation, increase in the fundamental frequency, mucous wave inverse movement; and it also facilitates the dynamic study of the larynx when associated with endoscopy, making it possible to have a better definition of lesion localization in vocal folds superficial lamina propria layers. Conclusion: There are few studies describing larynx behavior during reverse phonation and, for this technique to be used in a more precise and objective way, more studies are necessary in order to prove its effectiveness in practical matters. 1 M.S. in Human Communications Disorders UFSM/RS, Speech and Hearing Therapist, Capes Scholarship holder. 2 PhD in Applied Linguistics - PUC-RS, Speech and Hearing Therapist. Adjunct Professor - Department of Speech and Hearing Therapy - UFSM. Federal University of Santa Maria. Mailing Address: Leila Susana Finger - R. Angelo Uglione 1645/302 Centro Santa Maria RS 97010-570.
    [Show full text]
  • Aerodynamic and Durational Cues of Phonological Voicing in Whisper Yohann Meynadier, Yulia Gaydina
    Aerodynamic and durational cues of phonological voicing in whisper Yohann Meynadier, Yulia Gaydina To cite this version: Yohann Meynadier, Yulia Gaydina. Aerodynamic and durational cues of phonological voicing in whisper. Interspeech, Aug 2013, Lyon, France. pp.335-339. hal-01211117 HAL Id: hal-01211117 https://hal.archives-ouvertes.fr/hal-01211117 Submitted on 5 Oct 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Aerodynamic and durational cues of phonological voicing in whisper Yohann Meynadier, Yulia Gaydina Aix-Marseille Université, CNRS UMR 7309, LPL, Aix-en-Provence, France [email protected], [email protected] consonants and pre-consonant vowels has long been observed: Abstract (i) vowels are longer before voiced than before voiceless This paper presents analyses on the phonological voicing consonants and, (ii) voiceless obstruents are longer than contrast in whispered speech, which is characterized by the voiced ones [2], see [35, 36] for a review. absence of vocal fold vibrations. In modal speech, besides While the voiced-voiceless difference in duration of pre- glottal vibration, the contrast between voiced and unvoiced consonantal vowels is not still well understood [2, 37, 38], the consonants is realized by other phonetic correlates: e.g.
    [Show full text]
  • VB3 / A/ O,(S0-02
    /VB3 / A/ O,(s0-02 A SURVEY OF THE RESEARCH LITERATURE ON THE FEMALE HIGH VOICE THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Roberta M. Stephen, B. Mus., A. Mus., A.R.C.T. Denton, Texas December, 1988 Stephen, Roberta M., Survey of the Research Literature on the Female High Voice. Master of Arts (Music), December, 1988, 161 pp., 11 tables, 13 illustrations, 1 appendix, bibliography, partially annotated, 136 titles. The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice. PREFACE The purpose of this thesis is to collect research about the female high voice and to assemble the pedagogy. The science and the pedagogy will be compared to show how the two subjects conform, where there is controversy, and where more research is needed. Information about the female high voice is scattered in various periodicals and books; it is not easily found.
    [Show full text]
  • Musical Voices of Early Modern Women 1St Edition Pdf, Epub, Ebook
    MUSICAL VOICES OF EARLY MODERN WOMEN 1ST EDITION PDF, EPUB, EBOOK Thomasin LaMay | 9781351916288 | | | | | Musical Voices of Early Modern Women 1st edition PDF Book Charles C. The band formed in , with folk musician Mike Settle guitar and backing vocals and the operatically-trained Thelma Camacho lead vocals completing the lineup. Learn how and when to remove these template messages. Most serious collectors want the 'true first edition' - the 'first edition, first printing' - and sometimes detective work is required to identify which edition that is. There are a number of these type of sellers out there. The third single from the album, a version of Merle Haggard 's "Today I Started Loving You Again" reached the lower regions of the country charts in mid Choral Opera Lied Vocables. Monumental tried to give them just this. The Guardian notes that Tolkien inscribed it with a poem in Old English, which roughly translates to:. American country rock group. As with the Ordinary, the earliest settings are in plainchant, and troping also existed in the Propers. The current retail value of your book is probably somewhere in that neighborhood. Slowly growing apart from the others, Camacho began to feel restricted by the band in a number of ways. Today is National Voter Registration Day! Each time a publisher releases a new instance of the same title, or when a book is released in a new format, these may also be considered first edition books. Women are typically divided into three groups: soprano , mezzo-soprano , and contralto. Recorded over six months in , and released in March , The Ballad of Calico was written by future star Michael Murphey and the First Edition's musical director and arranger Larry Cansler.
    [Show full text]
  • The Larynx Prof
    The Larynx Prof. Dr.Mohammed Hisham Al-Muhtaseb The Larynx • Extends from the middle of C3 vertebra till the level of the lower border of C6 • Continue as Trachea • Above it opens into the laryngo-pharynx • Suspended from the hyoid bone above and attached to the trachea below by membranes and ligaments Functions • 1. acts as an open valve in respiration • 2. Acts as a closed valve in deglutition • 3. Acts as a partially closed valve in the production of voice • 4. During cough it is first closed and then open suddenly to release compressed air Parts • 1. Cartilage • 2. Mucosa • 3. Ligaments • 4. Muscles Cartilage • A. Single : Epiglottis Cricoid Thyroid B. Pairs: Arytenoid Cuneiform Corniculate Cricoid cartilage • The most inferior of the laryngeal cartilages • Completely encircles the airway • Shaped like a 'signet ring' • Broad lamina of cricoid cartilage posterior • Much narrower arch of cricoid cartilage circling anteriorly. Cricoid cartilage • Posterior surface of the lamina has two oval depressions separated by a ridge • The esophagus is attached to the ridge • Depressions are for attachment of the posterior crico-arytenoid muscles. • Has two articular facets on each side • One facet is on the sloping superolateral surface and articulates with the base of an arytenoid cartilage; • The other facet is on the lateral surface near its base and is for articulation with the inferior horn of the thyroid cartilage Thyroid cartilage • The largest of the laryngeal cartilages • It is formed by a right and a left lamina • Widely separated posteriorly,
    [Show full text]
  • ESTILL Voice Training®
    ESTILL Voice Training® Certification Manual Version 5.0 Effective Date: May 15, 2018 (clarifying edits added on September 20, 2018, October 31, 2018, and January 20, 2019; Voiceprint Protocol appendices added on April 29, 2019) ACKNOWLEDGEMENT Estill Voice International gratefully acknowledges the guidance of the Estill Certification Advisory Board in the preparation of the Certification Manual, Version 5.0. Both the previous and current Boards have contributed to the changes in terminology and procedural updates in this version. Special thanks are due to Naomi Eyers and Anne-Marie Speed who worked with Mary McDonald Klimek on the early drafts and to Julie Cimon Racine, Charlotte Xerri, Jenny Caire, Corinne Morini, Alizia Romero, and Kim McInnis who participated in final editing. Estill Certification Advisory Board 2015-2017 Naomi Eyers Alejandro Saorin Martinez Kerrie Beechler Obert Alizia Romero Anne-Marie Speed Marcello Zempt Estill Certification Advisory Board 2017-2019 Alessandro Campone Julie Cimon Racine Alejandro Saorin Martinez Alizia Romero Anne-Marie Speed Charlotte (Shorthouse) Xerri Estill Voice International, LLC Kimberly Steinhauer, President Mary McDonald Klimek, Vice President ADVISORY When pursuing certification at any level, please make sure that you have the most recent edition of this document, available for download at www.estillvoice.come. Table of Contents I. Introduction ....................................................1 II. Core Values and Practice Standards. 2 A. Preface ......................................................
    [Show full text]
  • A Literature Review of Uses and Attitudes Towards the Acceptance of Assistive Real-Time Technology in the Voice Studio Jeanine F
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Winter 11-1-2013 A Literature Review of Uses and Attitudes Towards the Acceptance of Assistive Real-Time Technology in the Voice Studio Jeanine F. Wagner [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Wagner, Jeanine F., "A Literature Review of Uses and Attitudes Towards the Acceptance of Assistive Real-Time Technology in the Voice Studio" (2013). Research Papers. Paper 440. http://opensiuc.lib.siu.edu/gs_rp/440 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. A LITERATURE REVIEW OF USES AND ATTITUDES TOWARDS THE ACCEPTANCE OF ASSISTIVE REAL-TIME TECHNOLOGY IN THE VOICE STUDIO by Jeanine Wagner B.M., Southern Illinois University, 1980 M.M., Southern Illinois University, 1981 D.M.A., University of Illinois, 1987 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Science Degree Department of Communication Disorders and Sciences in the Graduate School Southern Illinois University Carbondale December 2013 RESEARCH PAPER APPROVAL A LITERATURE REVIEW OF USES AND ATTITUDES TOWARDS THE ACCEPTANCE OF ASSISTIVE REAL-TIME TECHNOLOGY IN THE VOICE STUDIO By Jeanine Wagner A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Communication Disorders, Speech and Language Pathology Approved by: Sandie Bass-Ringdahl, Ph.D./CCC-A, Chair Graduate School Southern Illinois University Carbondale November 1, 2013 AN ABSTRACT OF THE RESEARCH PAPER OF JEANINE F.
    [Show full text]