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Introduction: The study has investigated the lived experience of flautists, focusing on their experiences and perceptions of performance-related physical discomfort, injury and related mental health challenges that they might have encountered in practice and performance. The aims of the research have been to provide flautists with an opportunity to reflect on any physical or psychological performance issues in their own words, and to understand the subjective meaning of these experiences., Methods: A basic qualitative approach was used for gathering data. All the fieldwork was undertaken during or immediately after the Covid-19 pandemic. Consequently, the participating flautists were deliberately selected using professional networks on the basis of their answers to a pre-interview initial questionnaire related to the characteristics of their personal backgrounds and their experiences, as well as being able to participate remotely. There have been two data collection phases. Phase 1 was a specially designed pre-interview questionnaire drawing on themes from appropriate literature. Phase 2 built on the pre-interview questionnaire responses and was designed as semi-structured interviews, undertaken on Zoom, and included a 'River of Flute-playing Experience' activity during the interview. The 'River of Experience' method is an autobiographical research tool in which participants were asked to annotate key biographical experiences and challenges at various points along their drawing of a meandering river. The combined data analyses drew on thematic analysis., Results: The eight participants reported a personal history of performance-related health and wellbeing challenges that they had faced at some point in their lives. The findings reveal that flautists encounter health-related challenges associated with their practice and performances, and the data suggest that they each require an understanding of likely performance-related health challenges and supportive resources to assist them in managing these challenges., Discussion: The participants' diverse experiences highlight the importance of managing health and the value of supportive social connections. They cope with health challenges by integrating passion, resilience, and adaptability into their lives, finding ways to grow and continue to thrive in their flute-playing journey. The study underscores the need for comprehensive health education and support resources for flautists, emphasising the significance of resilience and adaptability in fostering health, wellbeing, and success., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest. The author(s) declared that they were an editorial board member of Frontiers, at the time of submission. This had no impact on the peer review process and the final decision., (Copyright © 2024 Wang and Welch.)

In a future of pervasive augmented reality (AR), AR systems will need to be able to efficiently draw or guide the attention of the user to visual points of interest in their physical-virtual environment. Since AR imagery is overlaid on top of the user's view of their physical environment, these attention guidance techniques must not only compete with other virtual imagery, but also with distracting or attention-grabbing features in the user's physical environment. Because of the wide range of physical-virtual environments that pervasive AR users will find themselves in, it is difficult to design visual cues that "pop out" to the user without performing a visual analysis of the user's environment, and changing the appearance of the cue to stand out from its surroundings. In this article, we present an initial investigation into the potential uses of dichoptic visual cues for optical see-through AR displays, specifically cues that involve having a difference in hue, saturation, or value between the user's eyes. These types of cues have been shown to be preattentively processed by the user when presented on other stereoscopic displays, and may also be an effective method of drawing user attention on optical see-through AR displays. We present two user studies: one that evaluates the saliency of dichoptic visual cues on optical see-through displays, and one that evaluates their subjective qualities. Our results suggest that hue-based dichoptic cues or "Forbidden Colors" may be particularly effective for these purposes, achieving significantly lower error rates in a pop out task compared to value-based and saturation-based cues.

Human speech perception is generally optimal in quiet environments, however it becomes more difficult and error prone in the presence of noise, such as other humans speaking nearby or ambient noise. In such situations, human speech perception is improved by speech reading, i.e., watching the movements of a speaker's mouth and face, either consciously as done by people with hearing loss or subconsciously by other humans. While previous work focused largely on speech perception of two-dimensional videos of faces, there is a gap in the research field focusing on facial features as seen in head-mounted displays, including the impacts of display resolution, and the effectiveness of visually enhancing a virtual human face on speech perception in the presence of noise. In this paper, we present a comparative user study ( N=21) in which we investigated an audio-only condition compared to two levels of head-mounted display resolution ( 1832×1920 or 916×960 pixels per eye) and two levels of the native or visually enhanced appearance of a virtual human, the latter consisting of an up-scaled facial representation and simulated lipstick (lip coloring) added to increase contrast. To understand effects on speech perception in noise, we measured participants' speech reception thresholds (SRTs) for each audio-visual stimulus condition. These thresholds indicate the decibel levels of the speech signal that are necessary for a listener to receive the speech correctly 50% of the time. First, we show that the display resolution significantly affected participants' ability to perceive the speech signal in noise, which has practical implications for the field, especially in social virtual environments. Second, we show that our visual enhancement method was able to compensate for limited display resolution and was generally preferred by participants. Specifically, our participants indicated that they benefited from the head scaling more than the added facial contrast from the simulated lipstick. We discuss relationships, implications, and guidelines for applications that aim to leverage such enhancements.

In common with other professional musicians, self-evaluation of practise and performance is an integral part of a pianist's professional life. They will also have opportunities to listen to and evaluate the performances of others based on their own criteria. These self-constructed perspectives towards to a piano performance will have an influence on both self-evaluation and external evaluation, but whether differently or similarly is not known. Consequently, this research study aimed to explore how judgements on the perceived quality of a performance are undertaken by professional standard pianists and what criteria are applied, both with regards their own performances as well as the performance of others. Participants were six professional pianists (3 men, 3 women) who were based in the United Kingdom (Mean age = 31.5 years old. SD = 5.1). They were asked to play individually six trials of a piece of R. Schumann's "Träumerei" Op. 15 No. 7 in a hired hall for recordings. Then, within 2 months, each participant was asked to come to a self-evaluation session to listen to and evaluate their own six recordings, using a Triadic method as a Repertory Grid. For the external evaluation focused session, the participants were asked to return again to evaluate a further six recordings made up of 'best' recordings as selected by each participant from their own individual self-evaluations. Analyses of the resultant data suggest that there was no significant difference between the participants in their overall ratings in the external phase, but that self-evaluation showed significant individual differences amongst several participants. The performance criteria in both self-evaluation and external evaluation predominately overlapped with each other in terms of musical factors, such as tone quality, phrasing, and pedalling. The ranking of the performances was highly correlated with perceptions of overall flow, tone quality and pedalling. It appears that pianists apply similar criteria to decide performance quality when evaluating their own performances as well as others., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2022 Morijiri and Welch.)

A range of studies suggest that singing activities with young children can have a beneficial impact on other aspects of their development. However, there is little research examining the relationship between young children's singing and their developing social identity. In the current study, data were captured of young children's singing and social identity as part of a larger-scale, longitudinal evaluation of the nationwide Sing Up programme in England. Participants were 720 children aged 5-8 years old. The assessment of young children's singing ability employed an established measure and was undertaken individually. With adult support, the children were also asked to complete a simple questionnaire that focused on selected aspects of their social identity, both in general terms and also related to singing. Key themes embraced their attitudes to singing (at home, in school and in informal settings), singer identity (emotional engagement with singing and self-concept), and perceptions of self (self-efficacy, self-esteem, social integration). Comparative data were collected from young children of a similar age outside the programme. Findings suggested that the programme had a positive impact on children's singing ability, both overall and including the youngest children. The data analyses suggest that children could be identified as either "pupils with positive singing identity" or "pupils with less positive, or still developing singing identity." Overall, pupils with a more positive singer identity-irrespective of Sing Up -related experience-tended to report more positive attitudes toward singing at school and other settings, had higher perceived levels of self-esteem and social integration, as well as more positive evaluations of their singing ability. Furthermore, the research suggests that successful participation in high-quality singing activities is likely to have a positive impact on young children's singing ability and, by implication, such positive singing development will also be associated with aspects of self that are related to contexualised singer identity and their sense of social inclusion., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2022 Papageorgi, Saunders, Himonides and Welch.)

Peg tapping tasks are commonly used as a measure of inhibitory skill in young children. However, differences in the way the task is presented may influence children's performance. For example, if a peg tapping task is presented at regular intervals, children can entrain to the presentation pulse, which may in turn support their performance. This study assessed how speed and regularity of presentation may support or impair children's responses. An experimenter was filmed delivering the tapping task at two different speeds (120 bpm/3,000 ms per trial and 150 bpm/2,400 ms per trial). Additionally, they were filmed delivering the task at regular intervals (i.e., the onset of each trial was predictable), or at irregular intervals (the onset of each trial was unpredictable). N = 103 children aged between 5 and 6 years old were tested on the task. They completed one block with 20 regular interval trials and another block with 20 irregular interval trials. Block presentation order was randomized. Children who achieved over 90% accuracy on the task were then presented with two more blocks at 150 bpm. Children's response accuracy was measured. Our results show a difference in children's accuracy across all conditions with trials presented in an irregular manner producing poorer performance on the task. The study demonstrates how speed and regularity of presentation can affect children's scores on a tapping task used to measure inhibition. Demands on working memory, motor ability, and speed of processing are all affected by adjustments in presentation. Entrainment to a pulse is also a potential mechanism employed by children to support their performance on this task., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2021 Mason, Bowmer and Welch.)

In this article, we investigate the effects of the physical influence of a virtual human (VH) in the context of face-to-face interaction in a mixed reality environment. In Experiment 1, participants played a tabletop game with a VH, in which each player takes a turn and moves their own token along the designated spots on the shared table. We compared two conditions as follows: the VH in the virtual condition moves a virtual token that can only be seen through augmented reality (AR) glasses, while the VH in the physical condition moves a physical token as the participants do; therefore the VH's token can be seen even in the periphery of the AR glasses. For the physical condition, we designed an actuator system underneath the table. The actuator moves a magnet under the table which then moves the VH's physical token over the surface of the table. Our results indicate that participants felt higher co-presence with the VH in the physical condition, and participants assessed the VH as a more physical entity compared to the VH in the virtual condition. We further observed transference effects when participants attributed the VH's ability to move physical objects to other elements in the real world. Also, the VH's physical influence improved participants' overall experience with the VH. In Experiment 2, we further looked into the question how the physical-virtual latency in movements affected the perceived plausibility of the VH's interaction with the real world. Our results indicate that a slight temporal difference between the physical token reacting to the virtual hand's movement increased the perceived realism and causality of the mixed reality interaction. We discuss potential explanations for the findings and implications for future shared mixed reality tabletop setups.

The question of how and what boys should sing during adolescent voice change has challenged educators and choir leaders for the last century. As the larynx enlarges during adolescence, most boys will follow the descending pitch of their speaking voice and move to singing vocal parts with a lower pitch range. Occasionally a boy may continue to sing in his treble (soprano) range while his larynx is growing and his speaking pitch is lowering. There is much opinion on the wisdom of such practices, but until now there has been no quantifiable evidence to illustrate the discussion. The established historic and cultural practices can now be reassessed in the light of quantitative analyses of vocal function. This longitudinal case study used electroglottographic measures from one boy over a 3-year period to investigate the efficiency of vocal fold adductory behavior in both prechange and midchange singing. In the first recording, he is aged 10 years old and has an unchanged voice. In the second recording, he is aged 13 years old and has a speaking voice in the Cooksey Stage III of voice change. Up to and including the time of the second recording, he had chosen to remain singing exclusively in his treble (soprano) range. The comparison between the two recordings of the observed regularity and efficiency of vocal fold adduction suggests that singing in this pitch range has become less healthy and effective; this is also represented in the overall perceived vocal comfort levels heard in the recordings. The implications for educators are that the longitudinal development of singing habits will be enhanced for boys who move to singing with their new baritone range as their larynx grows, rather than remaining in a treble range., (Copyright © 2019 The Voice Foundation. Published by Elsevier Inc. All rights reserved.)

Most investigations of musical performance anxiety have employed quantitative methodologies. Whereas such methodologies can provide useful insights into the measurable aspects of the experience in a larger group of participants, the complexity, subtlety and individuality of the emotional experience and the importance of the individual's interpretation of it are often overlooked. This study employed a phenomenological approach to investigate the lived, subjective experience of performance anxiety, as described in professional musicians' narratives. Semi-structured interviews with four professional musicians (two males, two females) specializing in Western classical and jazz music genres were conducted and analyzed using Interpretative Phenomenological Analysis (IPA). The analysis revealed the presence of four overarching themes: (1) Intensity of performance anxiety experience, (2) perceived effects, (3) development of coping strategies, and (4) achieving release from anxiety. Findings suggest that the lived experience of performance anxiety is multifaceted, characterized by a physical and a psychological dimension. Interpretative Phenomenological Analysis is a useful research tool that can facilitate our understanding of the subjective experience of performance anxiety (how it is felt and understood at an individual level) and can thus be useful in the development of tailor-made intervention programs for musicians., (Copyright © 2020 Papageorgi and Welch.)

Human gaze awareness is important for social and collaborative interactions. Recent technological advances in augmented reality (AR) displays and sensors provide us with the means to extend collaborative spaces with real-time dynamic AR indicators of one's gaze, for example via three-dimensional cursors or rays emanating from a partner's head. However, such gaze cues are only as useful as the quality of the underlying gaze estimation and the accuracy of the display mechanism. Depending on the type of the visualization, and the characteristics of the errors, AR gaze cues could either enhance or interfere with collaborations. In this paper, we present two human-subject studies in which we investigate the influence of angular and depth errors, target distance, and the type of gaze visualization on participants' performance and subjective evaluation during a collaborative task with a virtual human partner, where participants identified targets within a dynamically walking crowd. First, our results show that there is a significant difference in performance for the two gaze visualizations ray and cursor in conditions with simulated angular and depth errors: the ray visualization provided significantly faster response times and fewer errors compared to the cursor visualization. Second, our results show that under optimal conditions, among four different gaze visualization methods, a ray without depth information provides the worst performance and is rated lowest, while a combination of a ray and cursor with depth information is rated highest. We discuss the subjective and objective performance thresholds and provide guidelines for practitioners in this field.

Introduction: We introduce a new type of patient simulator referred to as the Physical-Virtual Patient Simulator (PVPS). The PVPS combines the tangible characteristics of a human-shaped physical form with the flexibility and richness of a virtual patient. The PVPS can exhibit a range of multisensory cues, including visual cues (eg, capillary refill, facial expressions, appearance changes), auditory cues (eg, verbal responses, heart sounds), and tactile cues (eg, localized temperature, pulse)., Methods: We describe the implementation of the technology, technical testing with healthcare experts, and an institutional review board-approved pilot experiment involving 22 nurse practitioner students interacting with a simulated child in 2 scenarios: sepsis and child abuse. The nurse practitioners were asked qualitative questions about ease of use and the cues they noticed., Results: Participants found it easy to interact with the PVPS and had mixed but encouraging responses regarding realism. In the sepsis scenario, participants reported the following cues leading to their diagnoses: temperature, voice, mottled skin, attitude and facial expressions, breathing and cough, vitals and oxygen saturation, and appearance of the mouth and tongue. For the child abuse scenario, they reported the skin appearance on the arms and abdomen, perceived attitude, facial expressions, and inconsistent stories., Conclusions: We are encouraged by the initial results and user feedback regarding the perceived realism of visual (eg, mottling), audio (eg, breathing sounds), and tactile (eg, temperature) cues displayed by the PVPS, and ease of interaction with the simulator.

The current study aimed to categorize fall risk appraisal and quantify discrepancies between perceived fall risk measured subjectively using the short Fall Efficacy Scale-International and physiological fall risk measured objectively using the portable BTrackS™ Assess Balance System. One hundred two community-dwelling older adults were evaluated in this cross-sectional study. Approximately 40% of participants had maladaptive fall risk appraisals, which were either irrational (high perceived risk despite low physiological fall risk) or incongruent (low perceived risk but high physiological fall risk). The remaining 60% of participants had adaptive fall risk appraisals, which were either rational (low perceived risk aligned with low physiological fall risk) or congruent (high perceived risk aligned with high physiological fall risk). Among participants with rational, congruent, irrational, and incongruent appraisals, 21.7%, 66.7%, 28%, and 18.8%, respectively, reported having a history of falls (p < 0.01). Using technology to identify discrepancies in perceived and physiological fall risks can potentially increase the success of fall risk screening and guide fall interventions to target perceived or physiological components of balance. [Journal of Gerontological Nursing, 46(4), 41-47.]., (Copyright 2020, SLACK Incorporated.)

The human singing voice changes throughout the lifespan and there are gender-specific variations that need to be taken into account. Life changes in terms of voice are different for females and males and this paper concentrates on the female singing voice in the context of choral singing. Case-study data from three choristers are presented relating to the changing female voice during puberty as part of a longitudinal study of female choristers in a major English Cathedral Choir School. In addition, discussion is presented on important considerations with respect to the female choral singing voice with a particular focus on specific choral aspects during rehearsals and performance., (Copyright © 2018 The Voice Foundation. Published by Elsevier Inc. All rights reserved.)

This paper reports the findings of a study that aimed to identify the music beliefs and values of educators in early childhood education and care settings in Australia. The aims of the study were 2-fold: to adapt and pilot a survey of music beliefs and values which might be implemented subsequently nationally in childcare settings; and, secondly, to identify the music beliefs and values held by early childhood and care educators concerning music in children's learning. The research questions that guided this component of the study were: What is the profile of early childhood and care educators? What beliefs and values for music engagement are held by early childhood and care educators? What shapes early childhood and care educators' music beliefs and values? Findings indicated that educators' beliefs and values on all items are above the mid-point indicating overall positive attitudes toward music despite the majority having no formal qualifications in music or a history of instrumental performance and/or singing. Given the overall positive attitudes toward music we suggest there is enormous potential within this population for further professional learning and development targeted at music and its potential wider benefits in young children's learning and lives.

In 2008, Zhou et al. presented a survey paper summarizing the previous ten years of ISMAR publications, which provided invaluable insights into the research challenges and trends associated with that time period. Ten years later, we review the research that has been presented at ISMAR conferences since the survey of Zhou et al., at a time when both academia and the AR industry are enjoying dramatic technological changes. Here we consider the research results and trends of the last decade of ISMAR by carefully reviewing the ISMAR publications from the period of 2008-2017, in the context of the first ten years. The numbers of papers for different research topics and their impacts by citations were analyzed while reviewing them-which reveals that there is a sharp increase in AR evaluation and rendering research. Based on this review we offer some observations related to potential future research areas or trends, which could be helpful to AR researchers and industry members looking ahead.

Social presence, or the feeling of being there with a "real" person, is a crucial component of interactions that take place in virtual reality. This paper reviews the concept, antecedents, and implications of social presence, with a focus on the literature regarding the predictors of social presence. The article begins by exploring the concept of social presence, distinguishing it from two other dimensions of presence-telepresence and self-presence. After establishing the definition of social presence, the article offers a systematic review of 233 separate findings identified from 152 studies that investigate the factors (i.e., immersive qualities, contextual differences, and individual psychological traits) that predict social presence. Finally, the paper discusses the implications of heightened social presence and when it does and does not enhance one's experience in a virtual environment., (Copyright © 2018 Oh, Bailenson and Welch.)

Objectives: Using an empirical design, this study investigated perceptual and acoustic differences between the recorded vocal products of songs and scales of professional female singers of classical Western Lyric (WL) and non-legit Musical Theater (MT) styles., Methods: A total of 54 audio-recorded samples of songs and scales from professional female singers were rated in a blind randomized testing process by seven expert listeners as being performed by either a WL or MT singer. Songs and scales that were accurately perceived by genre were then analyzed intra- and inter-genre using long-term average spectrum analysis., Results: A high level of agreement was found between judges in ratings for both songs and scales according to genre (P < 0.0001). Judges were more successful in locating WL than MT, but accuracy was always >50%. For the long-term average spectrum analysis intra-genre, song and scale matched better than chance. The highest spectral peak for the WL singers was at the mean fundamental frequency, whereas this spectral area was weaker for the MT singers, who showed a marked peak at 1 kHz. The other main inter-genre difference appeared in the higher frequency region, with a peak in the MT spectrum between 4 and 5 kHz-the region of the "speaker's formant.", Conclusions: In comparing female singers of WL and MT styles, scales as well as song tasks appear to be indicative of singer genre behavior. This implied difference in vocal production may be useful to teachers and clinicians dealing with multiple genres. The addition of a scale-in-genre task may be useful in future research seeking to identify genre-distinctive behaviors., (Crown Copyright © 2017. Published by Elsevier Inc. All rights reserved.)

This article reports a pilot study of the potential benefits of a sustained programme of singing activities on the musical behaviours and hearing acuity of young children with hearing impairment (HI). Twenty-nine children (n=12 HI and n=17 NH) aged between 5 and 7 years from an inner-city primary school in London participated, following appropriate ethical approval. The predominantly classroom-based programme was designed by colleagues from the UCL Institute of Education and UCL Ear Institute in collaboration with a multi-arts charity Creative Futures and delivered by an experienced early years music specialist weekly across two school terms. There was a particular emphasis on building a repertoire of simple songs with actions and allied vocal exploration. Musical learning was also supported by activities that drew on visual imagery for sound and that included simple notation and physical gesture. An overall impact assessment of the pilot programme embraced pre- and post-intervention measures of pitch discrimination, speech perception in noise and singing competency. Subsequent statistical data analyses suggest that the programme had a positive impact on participant children's singing range, particularly (but not only) for HI children with hearing aids, and also in their singing skills. HI children's pitch perception also improved measurably over time. Findings imply that all children, including those with HI, can benefit from regular and sustained access to age-appropriate musical activities.

There is a growing body of neurological, cognitive, and social psychological research to suggest the possibility of positive transfer effects from structured musical engagement. In particular, there is evidence to suggest that engagement in musical activities may impact on social inclusion (sense of self and of being socially integrated). Tackling social exclusion and promoting social inclusion are common concerns internationally, such as in the UK and the EC, and there are many diverse Government ministries and agencies globally that see the arts in general and music in particular as a key means by which social needs can be addressed. As part of a wider evaluation of a national, Government-sponsored music education initiative for Primary-aged children in England ("Sing Up"), opportunity was taken by the authors, at the request of the funders, to assess any possible relationship between (a) children's developing singing behavior and development and (b) their social inclusion (sense of self and of being socially integrated). Subsequently, it was possible to match data from n = 6087 participants, drawn from the final 3 years of data collection (2008-2011), in terms of each child's individually assessed singing ability (based on their singing behavior of two well-known songs to create a "normalized singing score") and their written responses to a specially-designed questionnaire that included a set of statements related to children's sense of being socially included to which the children indicated their level of agreement on a seven-point Likert scale. Data analyses suggested that the higher the normalized singing development rating, the more positive the child's self-concept and sense of being socially included, irrespective of singer age, sex and ethnicity.

Traditionally, children's speaking and singing behaviors have been regarded as two separate sets of behaviors. Nevertheless, according to the voice-scientific view, all vocal functioning is interconnected due to the fact that we exploit the same voice and the same physiological mechanisms in generating all vocalization. The intention of the study was to investigate whether prepubertal children's speaking and singing behaviors are connected perceptually. Voice recordings were conducted with 60 10-year-old children. Each child performed a set of speaking and singing tasks in the voice experiments. Each voice sample was analyzed perceptually with a specially designed perceptual voice assessment protocol. The main finding was that the children's vocal functioning and voice quality in their speaking behavior correlated statistically significantly with those in their singing behavior. The findings imply that children's speaking and singing behaviors are perceptually connected through their vocal functioning and voice quality. Thus, it can be argued that children possess one voice that is used for generating their speaking and singing behaviors.

This paper forms part of a larger study into the nature of singing development in children and examines gender differences in long-term average spectra (LTAS). Three hundred and twenty children in age groups 4-11 years learned a song and were then recorded singing alone. LTAS curves were calculated for each voice. Age of each singer was estimated and gender attributed by a panel of independent listeners. Rate of gender identification (71%) was consonant with that reported for children's speech. Progressive statistically significant shifts of spectral energy as a function of increasing age (reported in a previous study) were found to be present in the data for both genders, but the developmental timetable over which the changes took place was earlier for girls than for boys. A theoretical basis for the developmental changes is proposed.

Two-dimensional (2D) videoconferencing has been explored widely in the past 15-20 years to support collaboration in healthcare. Two issues that arise in most evaluations of 2D videoconferencing in telemedicine are the difficulty obtaining optimal camera views and poor depth perception. To address these problems, we are exploring the use of a small array of cameras to reconstruct dynamic three-dimensional (3D) views of a remote environment and of events taking place within. The 3D views could be sent across wired or wireless networks to remote healthcare professionals equipped with fixed displays or with mobile devices such as personal digital assistants (PDAs). The remote professionals' viewpoints could be specified manually or automatically (continuously) via user head or PDA tracking, giving the remote viewers head-slaved or hand-slaved virtual cameras for monoscopic or stereoscopic viewing of the dynamic reconstructions. We call this idea remote 3D medical collaboration. In this article we motivate and explain the vision for 3D medical collaboration technology; we describe the relevant computer vision, computer graphics, display, and networking research; we present a proof-of-concept prototype system; and we present evaluation results supporting the general hypothesis that 3D remote medical collaboration technology could offer benefits over conventional 2D videoconferencing in emergency healthcare.

This paper forms part of a larger study into the nature of singing development in children. The focus here is on an investigation of age-related changes in long-term average spectra (LTAS). Three hundred and twenty children in age groups 4-11 years learned a song. Each child was then digitally recorded singing alone. LTAS curves were calculated from the recordings of each voice and perceived age was estimated by a panel of independent judges. Progressive statistically significant changes were observed in the LTAS as a function of increasing age of the children. These took the form of increases in spectral energy in all frequencies below 5.75 kHz, with concomitant reductions of energy in frequency regions above this point. Increases with age were also found in overall intensity levels of the vocal products. Four experienced listeners audited the voice samples and made estimates of the children's ages. The level of accuracy of age-estimates was remarkably high for children in the youngest age groups, but was reduced with voice samples from older children. Maturation and developing competence of the vocal system, both in growth of lung capacity and at a laryngeal level, are implicated in the generation of age-related spectral changes. Perceived child singer age appears to be less closely related to spectral characteristics (as defined within LTAS) with increasing age of children.

Customarily, speaking and singing have tended to be regarded as two completely separate sets of behaviors in clinical and educational settings. The treatment of speech and voice disorders has focused on the client's speaking ability, as this is perceived to be the main vocal behavior of concern. However, according to a broader voice-science perspective, given that the same vocal structure is used for speaking and singing, it may be possible to include singing in speech and voice therapy. In this article, a theoretical framework is proposed that indicates possible benefits from the inclusion of singing in such therapeutic settings. Based on a literature review, it is demonstrated theoretically why singing activities can potentially be exploited in the treatment of prepubertal children suffering from speech and voice disorders. Based on this theoretical framework, implications for further empirical research and practice are suggested.

Background: The Western classical training of many secondary music specialist teachers may be inappropriate for the demands of the contemporary secondary school classroom, leading to a conflict between their self-concepts as 'musicians' and as 'teachers'., Aims: To undertake a short-term longitudinal comparison of the developing identities and the attitudes of a group of intending specialist secondary music teachers, during the transition into their first teaching post, with a group of music students from university and conservatory backgrounds., Sample: Twenty-nine trainee music teachers completed Phases 1 and 2 of the study during their final weeks of training and during the second term of their teaching career, and a comparison group of 29 final-year undergraduate music students did so in the first and last terms of their final year., Method: A specially devised composite Musical Careers Questionnaire gathered information in both phases about self-efficacy in music and in teaching, identification with professional groups in these two domains, and attitudes towards important skills for musicians and teachers., Results: A series of ANOVAs comparing the student groups' scores in each of the two phases revealed no significant main effects or interactions for either of the self-efficacy measures, a significant group effect for professional group identification, and some changes in the attitude measures., Conclusion: Although participants' views of their own general effectiveness as teachers and as musicians changed very little over the period of the study, their attitudes towards music teaching and perceptions of the skills required showed some changes.

This article reports on an exploratory research project to evaluate the usefulness or otherwise of real-time visual feedback in the singing studio. The primary purpose of the work was not to optimize the technology for this application, but to work alongside teachers and students to study the impact of real-time visual feedback technology use on the students' learning experiences. An action research methodology was used to explore the benefit of real-time displays over an extended period. The experimental phase of the work was guided by a Liaison Panel of teachers and academics in the areas of singing, pedagogy, voice science, speech therapy, and linguistic science. Qualitative data were collected from eight students working with two professional singing teachers. The teachers and students acted as co-researchers under the action research paradigm. Teachers and students alike kept journals of their teaching and learning experiences. Singing lessons were observed regularly by the research team, coded for teacher and student behaviors, and all co-researchers were interviewed at the mid- and endpoint of the project. The use of technology had a positive impact on the learning process, and this is evidenced through case study data.

This paper describes the nature and implementation of a specially-designed integrated real-time display that is undergoing evaluation as part of a recently funded innovative pilot project to investigate the relative usefulness of computer displays in the singing studio. Following previous work that suggests that simple displays of a small number of analysis parameters are generally likely to be the most effective, the system makes available a range of complementary analyses that are plotted against time. These relate to: fundamental frequency, spectrum, spectral ratio, and vocal tract area. These can be viewed singly, multiply or in combination using a panel based design within the PC Windows environment, known as WinSingad. The algorithms used are described and the displays themselves are illustrated with results gained from the pilot phase of the research to indicate their potential usefulness.