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Susan Buesgens – In listening
to you do this, it reminds me that as singers we can change our sound
so much, the fact that we are chameleon-like in our character is
both our strength and weekness, but it’s great. What I was
thinking might be a next step is to have a pair of headphones on,
because so much of the styles you were talking about come out in
imitation of instrument quality. If you did it with earphones on
with the accompaniment being in the style (because accompaniments
are clearly style oriented), and if you had accompaniments behind
you that you just had on your earphones, it would be interesting
to measure whether or not there was more change in your styles based
on having that accompaniment in your ear. Audio
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Johan Sundberg – 2 things: I think it would be very wonderful
if you could have an expert panel classify your examples. Then if
they classify them correctly, then you know you are not the only
one who would do it in this way. The second one is the plot there
where you had the sound pressure level vs. the open quotient. The
thing is that the open quotient is dependent upon subglottal pressure.
Maybe you could get a more informative phonation map by skipping
sound pressure level and replacing it by subglottal pressure instead,
then I think adduction, the degree of hyperfunction, would come out
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Jim Doing– I think you are amazing:
I’ve just never heard anybody be able to do all that stuff.
I think you’ll have a difficult time getting a bigger study
together because I don’t think any one in the world can do
what you can do. And that’s a great idea (referring to Sundberg's comments), you could send the
samples to an R&B person and ask them to pick out the R&B
ones, and to a pop person, etc. But it was amazing. Audio
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Irene Feher – I think that the other aspect would be to
introduce male voices because there is just so much variation in
use. Male R & B singers sometimes sing in falsetto, sometimes
with their full voice. So it would be an interesting contrast to
study male voices as well. Audio
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