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This study aimed to describe the clinical presentation and therapeutic course of a trained Carnatic singer with perceptually clinically normal voice who presented with singing difficulties. The participant of the study was a 25-year-old male individual who reported to the speech and language diagnostics unit with complaints of reduced vocal range for singing and strained voice while singing. After the routine voice evaluations, the subject was allotted Resonant Voice Therapy. The baseline recordings were compared with the subsequent voice recordings of the subject, on different parameters, along the course of the training. The post-training recordings showed an increase in the singing range of the subject from 9 semitones to 19-20 semitones with modifications in adharashruthi. There were reductions in the perturbation and noise-to-harmonic ratio found in post-training samples. This case study highlights the innovative application of RVT to expand pitch range in a Carnatic singer with normative vocal parameters but encountering singing difficulties. The findings underscore the potential of RVT as a transformative intervention, offering promising avenues for enhancing vocal performance and addressing challenges specific to Carnatic singing techniques.

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Objective: This study sought to identify circulating proteins causally linked to Inflammatory Bowel Disease (IBD) traits through a Mendelian Randomization (MR) analytical framework. Methods: Using a large-scale, two-sample MR approach, we estimated the genetic links of numerous plasma proteins with IBD and its subtypes, leveraging information from the Inflammatory Bowel Disease Genetics Consortium. To assess the robustness of MR findings, methods like Bayesian colocalization, and Steiger filtering analysis, evaluation of protein-altering variants. Further insights into IBD's underlying mechanisms and therapeutic targets were gleaned from single-cell sequencing analyses, protein-protein interaction assessments, pathway enrichment analyses, and evaluation of drug targets. Results: By cis-only MR analysis, we identified 83 protein-phenotype associations involving 27 different proteins associated with at least one IBD subtype. Among these proteins, DAG1, IL10, IL12B, IL23R, MST1, STAT3 and TNFRSF6B showed overlapping positive or negative associations in all IBD phenotypes. Extending to cis + trans MR analysis, we further identified 117 protein-feature associations, including 44 unique proteins, most of which were not detected in the cis-only analysis. In addition, by performing co-localization analysis and Steiger filtering analysis on the prioritized associations, we further confirmed the causal relationship between these proteins and the IBD phenotype and verified the exact causal direction from the protein to the IBD-related feature. Conclusion: MR analysis facilitated the identification of numerous circulating proteins associated with IBD traits, unveiling protein-mediated mechanisms and promising therapeutic targets.

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Pleurotus citrinopileatus Singer (PCS) has attracted increasing attention as a raw material for medicine and food. Its quality is greatly affected by the accumulation of metabolites, which varies with the applied drying methods. In this study, we utilize an approach based on ultra-high-performance liquid chromatography/Q Exactive mass spectrometry (UHPLC-QE-MS) to reveal the metabolic profiles of PCS from three different drying methods (natural air-drying, NAD; hot-air-drying, HAD; vacuum freeze-drying, VFD). The results showed that lipids, amino acids and their derivatives were all important secondary metabolites produced during NAD, HAD and VFD treatments, with the key differential metabolites of PCS during drying including fifteen lipids and seven amino acids. Meanwhile, VFD was the best way for long-term preservation of dried PCS. Hot-drying methods, especially HAD, can improve the medicinal component of PCS. Furthermore, KEGG enrichment analysis highlighted 16 pathways and indicated that amino acid metabolism might be the key metabolite pathway for the PCS drying process. Our study elucidates the relationship between drying methods and metabolites or metabolic pathways of PCS to determine the mechanisms affecting the quality of PCS, and finally provides reference values for further development and application in functional food and medications.

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Control methods are applied worldwide to reduce predation on livestock by European red foxes (Vulpes vulpes). Lethal methods can inflict suffering; however, moral debate about their use is lacking. Non-lethal methods can also inflict suffering and can unintentionally lead to death, and yet both the welfare consequences and ethical perspectives regarding their use are rarely discussed. The aim of this study was to investigate the animal welfare consequences, the level of humaneness, the ethical considerations and the moral implications of the global use of fox control methods according to Tom Regan's animal rights view and Peter Singer's utilitarian view. According to Regan, foxes ought not to be controlled by either lethal or potentially harmful non-lethal methods because this violates the right of foxes not to be harmed or killed. According to Singer, if an action maximises happiness or the satisfaction of preferences over unhappiness or suffering, then the action is justified. Therefore, if and only if the use of fox control methods can prevent suffering and death in livestock in a manner that outweighs comparable suffering and death in foxes is one morally obligated to use them. It is clear that lethal fox control methods and some non-lethal methods are inhumane.

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Introduction: Drawing on the S-O-R model, this study aims to investigate the influence of three stimuli from AI-modified music (i.e., event relevance, lyric resonance, and AI-singer origins), two responses from social media content consumers (i.e., audience interpretation and emotional resonance) on the social media engagement of personalized background music modified by artificial intelligence (AI). Methods: The structural equation modeling analyses of 467 social media content consumers' responses confirmed the role of those three stimuli and the mediating effect of audience interpretation and emotional resonance in shaping social media engagement. Results: The findings shed light on the underlying mechanisms that drive social media engagement in the context of AI-modified background music created for non-professional content creators. Discussion: The theoretical and practical implications of this study advance our understanding of social media engagement with AI-singer-originated background music and provide a basis for future investigations into this rapidly evolving phenomenon in the gig economy.

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This study evaluated the effects of different drying techniques on the physicochemical properties of Pleurotus citrinopileatus Singer (P. citrinopileatus), focusing on the ergothioneine (EGT) contents. The P. citrinopileatus was subjected to natural ventilation drying (ND), freeze-drying (FD), and hot-air drying (HD). EGT was extracted using high-hydrostatic-pressure extraction (HHPE), and response surface methodology (RSM) was employed with four variables to optimize the extraction parameters. The crude EGT extract was purified by ultrafiltration and anion resin purification, and its antioxidant activity was investigated. The results showed that the ND method effectively disrupted mushroom tissues, promoting amino acid anabolism, thereby increasing the EGT content of mushrooms. Based on RSM, the optimum extracting conditions were pressure of 250 MPa, extraction time of 52 min, distilled water (dH2O) as the extraction solvent, and a 1:10 liquid-solid ratio, which yielded the highest EGT content of 4.03 ± 0.01 mg/g d.w. UPLC-Q-TOF-MSE was performed to assess the purity of the samples (purity: 86.34 ± 3.52%), and MS2 information of the main peak showed primary ions (m/z 230.1) and secondary cations (m/z 186.1050, m/z 127.0323) consistent with standard products. In addition, compared with ascorbic acid (VC), EGT showed strong free radical scavenging ability, especially for hydroxyl and ATBS radicals, at more than 5 mmol/L. These findings indicate that the extraction and purification methods used were optimal and suggest a possible synthetic path of EGT in P. citrinopileatus, which will help better explore the application of EGT.

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INTRODUCTION: Although microlaryngoscopy has been recognized to be effective in addressing lesions in vocal performers, no detailed information regarding return to performance (RTP) following surgery exists. We describe our experience and offer proposals to establish standardized criteria for RTP among vocal performers. METHODS: Records for adult vocalists who underwent microlaryngoscopy for benign vocal fold (VF) lesions and had a clearly documented RTP date between 2006 and 2022 were reviewed. Patient demographics, diagnoses, interventions, and postsurgical care before and after RTP were described. The need for medical and procedural interventions and rate of reinjury were used to determine the success of RTP. RESULTS: Sixty-nine vocal performers (average age: 32.8 years, 41 [59.4%] female, 61 [88.4%] musical theater) underwent surgery for 37 (53.6%) pseudocysts, 25 (36.2%) polyps, 5 (7.2%) cysts, 1 (1.4%) varix, and 1 (1.4%) mucosal bridge. Fifty-seven (82.6%) underwent voice therapy. The average time to RTP was 65.0 ± 29.8 days. Prior to RTP, six (8.7%) experienced VF edema requiring oral steroids and one (1.4%) underwent a VF steroid injection. Within 6 months following RTP, eight (11.6%) received oral steroids for edema and three underwent procedural interventions (two steroid injections for edema/stiffness, one injection augmentation for paresis). One patient experienced pseudocyst recurrence. CONCLUSIONS: Return to vocal performance at an average of 2 months following microlaryngoscopy for benign lesions appears overwhelmingly successful, with low rates of need for additional intervention. There is a need for validated instruments to better measure performance fitness to refine and possibly accelerate RTP. LEVEL OF EVIDENCE: 4 Laryngoscope, 134:329-334, 2024.

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Music is a human communicative art whose evolutionary origins may lie in capacities that support cooperation and/or competition. A mixed account favouring simultaneous cooperation and competition draws on analogous interactive displays produced by collectively signalling non-human animals (e.g. crickets and frogs). In these displays, rhythmically coordinated calls serve as a beacon whereby groups of males 'cooperatively' attract potential female mates, while the likelihood of each male competitively attracting an actual mate depends on the precedence of his signal. Human behaviour consistent with the mixed account was previously observed in a renowned boys choir, where the basses-the oldest boys with the deepest voices-boosted their acoustic prominence by increasing energy in a high-frequency band of the vocal spectrum when girls were in an otherwise male audience. The current study tested female and male sensitivity and preferences for this subtle vocal modulation in online listening tasks. Results indicate that while female and male listeners are similarly sensitive to enhanced high-spectral energy elicited by the presence of girls in the audience, only female listeners exhibit a reliable preference for it. Findings suggest that human chorusing is a flexible form of social communicative behaviour that allows simultaneous group cohesion and sexually motivated competition.

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Vocal arts medicine provides care and prevention strategies for professional voice disorders in performing artists. The issue of correct "Fach" determination depending on the presence of a lyric or dramatic voice structure is of crucial importance for opera singers, as chronic overuse often leads to vocal fold damage. To avoid phonomicrosurgery or prevent a premature career end, our aim is to offer singers an improved, objective fach counseling using digital sound analyses and machine learning procedures. For this purpose, a large database of 2004 sound samples from professional opera singers was compiled. Building on this dataset, we employed a classic ensemble learning method, namely the Random Forest algorithm, to construct an efficient fach classifier. This model was trained to learn from features embedded within the sound samples, subsequently enabling voice classification as either lyric or dramatic. As a result, the developed system can decide with an accuracy of about 80% in most examined voice types whether a sound sample has a lyric or dramatic character. To advance diagnostic tools and health in vocal arts medicine and singing voice pedagogy, further machine learning methods will be applied to find the best and most efficient classification method based on artificial intelligence approaches.

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OBJECTIVES: Objective was to find personality traits in singers performing various music styles and with different singing status. MATERIAL AND METHODS: The study consisted of 87 singers (66 females, 21 males; age: M±SD 25.5±8.2 years; 40 students, 22 professionals and 25 amateurs; 38 classical singers, 42 contemporary commercial music [CCM] singers; 55 solo singers and 22 choral singers). Participants filled in the NEO Five-Factor Inventory questionnaire and demographic information form. RESULTS: Median values compared to the Polish general population, suggest that solo, CCM, student and professional singers have a high level of conscientiousness. Those who sing in a choir, classical music, amateurs and students have relatively high level of agreeableness. High level of extraversion is observed among CCM singers and students. Students score higher on extraversion then professionals (p < 0.001). Professionals score higher on extraversion then amateurs (p < 0.01). Professionals less frequently than amateurs and students score high on agreeableness (p < 0.001). High scores on conscientiousness are significantly higher among professionals and students compared to amateurs (p < 0.001 in both cases). Solo singers have higher level of conscientiousness (p < 0.001) and openness (p < 0.001) and lower neuroticism (p < 0.01) than choral singers. Classical singers more often than CCM singers score low on openness (p < 0.01) and high on agreeableness (p < 0.01). CONCLUSIONS: Classical singers have lower level of openness and higher level of agreeableness than CCM singers. Neuroticism is higher among choir than solo singers and conscientiousness is higher among solo than choir singers. Amateurs had the highest level of neuroticism and the lowest level of conscientiousness as compared with professional singers and students. Int J Occup Med Environ Health. 2023;36(4):541-50.

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INTRODUCTION: During the Covid-19 pandemic, choirs had to apply safety measures such as distances and wearing masks. For children's choirs, there is no knowledge of their reaction to these measures, regarding their age and experience. This study aimed to investigate boys choir singers' perceptions of the measures, regarding wellbeing and feasibility, as well as the quality of the performance outcomes. METHODS: Six groups were put together, assembling five singers of the same age (7-16 years, before voice change) and experience level. The boys sang one verse of the same song at inter-subject distances of 3, 1.5, 0.5, 0.5 m plus wearing a mask and again 3 m. Afterward they filled out questionnaires concerning difficulty, irritation, hearing themselves and their neighbors, and if they could imagine singing regularly in the respective setting. Fifteen parents were asked to fill out questionnaires about their opinions about choir safety measures during the pandemic. Six anonymous boys choir experts rated the randomized recordings of all tasks regarding homogenous sound quality, rhythmical precision, and uniform intonation. RESULTS: Even though most of the children preferred smaller distances, they were open to all kinds of settings. The answers given were very specific to the individuals. Masks were voted out by a majority of the subjects. Parents found choir singing very important for their children and did in majority neither fear infection of their children, nor mind precautions. The experts rated the performance outcomes of the largest distance (3 m) as best in most of the cases. CONCLUSION: Different interspatial settings do not harm the children and adolescents and could be introduced as a beneficial approach to give them a broader listening experience and to make them flexible, alert, adaptable, and resilient singers. Singers' masks are only recommended for compelling circumstances.

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The finding of minimal laryngeal dysfunctions in professional voice users is essential to prevent the onset of organic vocal pathologies. The purpose of this study is to identify an objective parameter that supports the phoniatric evaluation in detecting minimal laryngeal dysfunctions in singers. 54 professional and non-professional singers have been evaluated with laryngostroboscopy, Multi-Dimensional Voice Program (MDVP), Dysphonia Severity Index (DSI), maximum phonation time (TMF), minimum intensity of sound emission (I-min), maximum frequency (F-max), voice handicap index (VHI), singing voice handicap index (SVHI), manual phonogram and audiometric examination. The SVHI of all the "healthy" singers was on average 23.7 ± 22.5, while that of the "dysfunctional" 20.9 ± 18. No statistically significant difference was found between the SVHI scores of the total of healthy singers compared to the scores of the dysfunctional ones on the VSL (p = 0.6). The between-group comparison of the means of individual parameter values of DSI, TMF, F-max, Jitter, Shimmer, NHR, and SPI was not statistically significant (respectively p = 0.315, 0.2, 0.18, 0.09, 0.2, 0.08, 0.3). The only parameter analyzed that was statistically significant was the I-min (p < 0.05). SVHI is a valid instrument for the evaluation after a therapy but in our experience, it is not useful in distinguishing healthy from dysfunctional patients. The minimum intensity of sound emission measured with the sound level meter (I-low2) resulted a reliable parameter to identify minimal laryngeal dysfunctions and a useful tool in supporting the phoniatric diagnostic-therapeutic process in singers.

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BACKGROUND: The suicide rate in Korea was the highest among the member countries of the Organization for Economic Cooperation and Development(OECD) for 2013-2016 and 2018-2020. In korea, suicide was the leading cause of death among individuals aged 10-39, and the second leading cause of death for aged 40-59. Thus, this study aimed to examine the Werther effect of the suicides of three Korean idol singers (Jonghyun: December 18, 2017, Sulli: October 14, 2019, and Hara Gu: November 24, 2019). METHODS: The study conducted Poisson regression and used the cause-of-death statistics microdata from 2016 to 2020 provided by Statistics Korea. The case periods ranged from the day of the suicide of each celebrity to 10 weeks after. The control periods were all weeks from 2016 to 2020, excluding the case periods. RESULTS: The suicide rates in Korea significantly increased by 1.21, 1.30, and 1.28 times after the deaths of Jonghyun, Sulli, and Hara Gu, respectively. The Werther effect was more evident in women than men. Suicide rate among individuals aged 10-29 years was greater than those for other age groups. CONCLUSIONS: This study confirmed that the rate of copycat suicides increased after three celebrity singers in Korea died by suicide. Nevertheless, the rate of suicide after the suicide of the three celebrity singers was lower than those in previous studies in Korea.

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Cantando En La Sombras is a cathartic work that provides an unexpected repose to my consistently restless mind. A multi-sensory experience, this essay is a self-reflective piece that speaks to my sexual identity and journey of self-discovery through prose and song. Inspired by the groundbreaking work Chicana Lesbians: The Girls Our Mothers Warned Us About (Trujillo, 1994), I found the fortitude and autochthonous voice to tell my story, my way, through the candor, realism, and integrity in the stories of women who not only dared to live their truths but to immortalize them in words. The work is unceremonious and intimate, and although it is unique to me, when the audience reads my story and hears my songs, they may be reminded of the other contributors to the anthology-their hopes, dreams, struggles, and heartbreaks. My hope is that readers find their own veracity, substance, and strength reflected in my words and music, and realize that we are all hermanas, "…mujeres extranjeras, compartiendo la misma alma."

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OBJECTIVE: Since the recent early music (EM) revival, a subset of singers have begun to specialize in a style of singing that is perceptually different from the more "mainstream" romantic operatic (RO) singing style. The aim of this study is to characterize EM with respect to RO singing in terms of its vibrato characteristics and the singer's formant cluster. STUDY DESIGN: This study presents a within-subject experimental design. METHODS: Ten professional singers (5 F; 5M) versed in both EM and RO repertoire were enrolled in the study. Each singer recorded the first 10 bars of the famous Aria, "Amarilli Mia Bella" (Giulio Caccini, 1602) a cappella, in RO and EM styles, in random order. Three sustained notes were extracted from the acoustical recordings and were analyzed using the free user-friendly software Biovoice to extract five parameters: vibrato rate, vibrato extent, vibrato jitter (Jvib), vibrato shimmer, and quality ratio (QR), an estimation of the singer's formant power. RESULTS: Vibrato in EM singing was characterized by a higher rate, a smaller extent, and less regular cycle-cycle period duration (higher Jvib) compared to RO singing. As in previous studies, RO singing presented a more prominent singer's formant, as indicated by a smaller QR. CONCLUSIONS: Acoustical analysis of some vibrato characteristics and the Singer's Formant significantly differentiated EM from RO singing styles. Given the acoustical distinctions between EM and RO styles, future scientific and musicological studies should consider distinguishing between the two styles rather than using a singular term for and description of Western Classical singing.

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Introduction: Lyophyllum decastes (Fr.) Singer polysaccharides (LDSPs) have been verified to possess strong biological properties. However, the effects of LDSPs on intestinal microbes and their metabolites have rarely been addressed. Methods: The in vitro-simulated saliva-gastrointestinal digestion and human fecal fermentation were used to evaluate the effects of LDSPs on non-digestibility and intestinal microflora regulation in the present study. Results: The results showed a slight increase in the content of the reducing end of the polysaccharide chain and no obvious change in the molecular weight during in vitro digestion. After 24 h in vitro fermentation, LDSPs were degraded and utilized by human gut microbiota, and LDSPs could be transformed into short-chain fatty acids leading to significant (p < 0.05) decrease in the pH of the fermentation solution. The digestion did not remarkably affect the overall structure of LDSPs and 16S rRNA analysis revealed distinct shifts in the gut microbial composition and community diversity of the LDSPs-treated cultures, compared with the control group. Notably, the LDSPs group directed a targeted promotion of the abundance of butyrogenic bacteria, including Blautia, Roseburia, and Bacteroides, and an increase in the n-butyrate level. Discussion: These findings suggest that LDSPs might be a potential prebiotic to provide a health benefit.

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OBJECTIVES: To determine the prevalence and characteristics of patients who identify singing voice as a primary concern when presenting with general voice complaints to a voice clinic. METHODS: Data were collected from medical records on demographics, medical history, laryngoscopy exam, diagnosis, and subsequent treatments; and from self-report questionnaires including the Voice Handicap Index-10 (VHI-10) and clinical voice questionnaire. RESULTS: A total of 17% of patients presenting to a voice clinic with general voice problems who completed a VHI-10 identified singing voice as a primary concern. Compared to the reference cohort, patients concerned about singing voice report greater handicap on several questions of the VHI-10, particularly in personal and social life impact, loss of income, unpredictability of vocal clarity, subjective upset, and subjective handicap. Those concerned with singing voice were also more concerned about their vocal problem, and both more likely to be recommended voice therapy and participate in voice therapy despite no statistical differences in categorical diagnoses. CONCLUSIONS: When considering both professional and recreational singers, voice concerns occurred in 17% of the cohort under study. Patients with singing voice concerns are accounted for largely by recreational singers, who remain poorly characterized in the literature. We underscore the importance of sensitivity and responsivity to the needs of this group of patients.

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Dr. Wolf Singer (b. 1943) is one of Germany's most renowned brain researchers and neurophysiologists. His accomplishments in the creation of new research centers for neuroscience as well as his commitment to European scientific organizations for integrative brain research are highly valued as significant moments of advancement in the neurosciences. Before his appointment as a scientific member of the Max Planck Society and director at the Frankfurt Max Planck Institute for Brain Research, he gained deep insight into the chances and pitfalls of translational initiatives at the Max Planck Institute of Psychiatry in Munich. From the late 1950s onward, the institute adapted to emerging international trends and successfully integrated neurochemistry, neurophysiology, and neuroanatomy into the fledgling interdisciplinary field of neuroscience. This agenda of reorientation was an undertaking of Otto Detlev Creutzfeldt, Detlev Ploog, Gerd Peters, and Horst Jatzkewitz, among others. In the 1970s, Munich's laboratories attracted scientists from several countries in Europe and abroad. This article examines whether specific styles of conducting (neuro)science research existed in the Max Planck Society.

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OBJECTIVE: Predicting the correct singing voice classification based on laryngoscopy is an old myth. The aim of this study was to evaluate if a professional phoniatrician/laryngologist can predict the correct singing voice classification only from laryngoscopy and to analyze different anatomical parameters between professional sopranos and altos to determine whether a multivariate analysis of anatomical parameters can predict the singing register. STUDY DESIGN: Prospective study METHODS: We included 49 professional female singers (25 sopranos, 24 altos). Laryngoscopic images were shown to professional phoniatricians/laryngologists to rate whether it they show a soprano or an alto. In addition, a high-resolution computer tomography (HRCT) scan was performed during singing of ƒ0 by each singer. DICOM scan data were rendered and 3D-visualized using the software MIMICS. In all singers, we measured the length of the vocal folds of the glottis, the distance from the anterior commissure orthogonally to the vertebral spine, and the antero-posterior distance of the subglottis/trachea 1 cm and 2 cm below the glottis. We also measured the length and volume of the resonance space. RESULTS: It was not possible to predict the singing voice classification only from laryngoscopy. In the HRCT images, sopranos had significantly shorter vocal folds, a shorter glottal length, a shorter distance from the anterior commissure to the spine, and a shorter resonance space. When combining all parameters, the chance of correctly predicting a soprano was 74.1% and an alto 68.2%. CONCLUSION: Although there are anatomical differences between sopranos and altos, prediction of the singing voice classification from laryngoscopy or HRCT is not reliable enough for clinical use.

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Descriptions of acoustical characteristics of Fado, a Portuguese urban style sung in Lisbon and Oporto, are scarce, particularly concerning Fado-Canção, a related style sung in Coimbra. The present study aims at describing long-term average spectrum (LTAS) parameters of 16 professional singers while singing and reading the lyrics of a typical Fado-Canção. LTAS parameters were investigated in terms of: (1) equivalent sound level (Leq); (2) spectral differences between 3 frequency bands 0-2, 2-5, and 5-8 kHz; and (3) quantification of spectral prominence between 2 and 4 kHz, calculated as the level difference between the peak in this frequency region and a reference trendline between 1 and 5 kHz, henceforth Formant Cluster Prominence (FCP). Given that Fado-Canção, besides Fado and traditional styles, originated also from classical singing, and that previous studies on Fado suggest the absence of a singer's formant cluster, the averaged LTAS for all Fado-Canção singers was further compared to the LTAS of two world-touring opera baritones singing an operatic aria and a lied. Results show that Fado-Canção is commonly sung with a Leq of 86.4 dB and a FCP of about 10 dB, values significantly higher when compared to reading. The FCP in Fado-Canção, although smaller than for the two classical opera singers' examples (14.8 and 20 dB, respectively), suggests that the style preserved some of its original lyrical influence. However, because younger singers present higher energy in the 5-8 kHz region relative to the remaining frequency bands as compared to older singers, it seems that Fado-Canção may be drifting towards non-classical vocal practices. FCP seems to be a promising straightforward method to quantify the degree of formant clustering around the region of the singer's formant in LTAS, allowing comparisons between different singers and singing styles.

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