{"id":23152,"date":"2022-04-26T02:07:03","date_gmt":"2022-04-26T00:07:03","guid":{"rendered":"https:\/\/www.oberton.org\/?post_type=tribe_events&p=23152"},"modified":"2022-04-26T06:02:20","modified_gmt":"2022-04-26T04:02:20","slug":"pas7-international-physiology-acoustics-of-singing-conference","status":"publish","type":"tribe_events","link":"https:\/\/www.oberton.org\/en\/event\/pas7-international-physiology-acoustics-of-singing-conference\/","title":{"rendered":"PAS7 – International Physiology & Acoustics of Singing Conference"},"content":{"rendered":"

PAS7+<\/a><\/p>\n

The PAS7+ conference promotes synergistic relationships between physiological and acoustical science, pedagogy, voice habilitation and vocal performance. Since the inception of the PAS conference series in 2002, leading voice researchers and pedagogues from around the globe have gathered to share their work. The outcomes of the conference yield several benefits: areas of singing in need of further examination are codified, collaborative relationships between scientists and practitioners are established, and objective vocal pedagogy is promoted.<\/p>\n

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Friday, 6th May 2022, 15:00 h<\/strong><\/p>\n

My, Wolfgang Saus’, contribution will be an oral presentation on my “Singing Phonetics Diagram \u2013 The Quantization of Sung Vowels”<\/strong>.<\/p>\n

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This presentation introduces a singing phonetics chart that helps singers match vowels with the strongest resonance, and that illustrates how resonance and vowel color depend on pitch.The diagram shows which vowel nuances produce resonance and which do not by visualizing how the partials of the voice are distributed differently in the acoustic-phonetic vowel triangle for each pitch. In discussions of vocal vowels, it can assist in separating subjective sensations, such as vowel and vocal feel, from measurable acoustic parameters, such as partials and resonant frequencies, and it can provide vocal educators with objective criteria for improving resonance. A new didactic approach is shown for controlling vocal tract resonance to within a semitone, and how this technique can be used, for example, to improve just intonation in ensemble singing.<\/div>\n<\/blockquote>\n

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