Presenter Ingo R Titze
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Link to abstract provided before conference Click here. [this will open in a new browser window, close that to return to this page.]
Link to speaker notes, if provided N/A
Question/Answer session The below has the question in text form, with a link to the audio form. The answer is typically in audio form only. The audio should open in a new window, close that to return to this page.

1 Linda Carroll – In terms of looking at the different choices of whether it’s going to be interactive or not, one of the things that we often, as voice trainers do in our work with sopranos, is if they have a high note to sing to make sure they never go wide, unless they are at the very highest note, but once in the note, they can afford to go wide with the mouth open. Does that mean that perhaps when you are dealing with any voice that’s going to go high, that you have one strategy for most of the song, but for the high you can change? Audio link.
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2 Joe Wolfe – You didn’t mention values of the phase difference or the power factor there. That’s interesting because the power output is the acoustic pressure flow cause angle between them. So that if you did make your load purely innertive, you’d have no power at all, purely imaginary power. So my question is just how innertive, and what is the phase difference that people achieve in what you use in the model. Audio link.
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3 Perry Smith – I’m not a mathematician, so this is a little beyond me. How do you find that this correlates with the findings of Vernard and Doscher; they both metion the supraglottal effect on the laryngeal mechanism. Audio link.
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4 Jim Doing – The narrow epilarynx tube, basically right above the vocal folds - I’ve had students to go an otolaryngologist who scoped them and they say "if it narrows down it's all too tight, too tight." It kind of goes against our ideas of gola aperta/open throat. Audio link.
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