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Phonation < Phonation (physiology) < Phonetics  Facettes :

List of bibliographic references

Number of relevant bibliographic references: 13.
Ident.Authors (with country if any)Title
000020 (1999) M. Thomasson [Suède] ; J. SundbergConsistency of phonatory breathing patterns in professional operatic singers.
000045 (2000) M. Bunch [Royaume-Uni] ; J. ChapmanTaxonomy of singers used as subjects in scientific research.
000299 (2004) V. Pettersen [Norvège] ; R H WestgaardMuscle activity in professional classical singing: a study on muscles in the shoulder, neck and trunk.
000316 (2004) V. Pettersen [Norvège] ; R H WestgaardThe association between upper trapezius activity and thorax movement in classical singing.
000327 (2005) Viggo Pettersen [Norvège] ; Rolf H. WestgaardThe activity patterns of neck muscles in professional classical singing.
000366 (????) Viggo Pettersen [Norvège]Muscular patterns and activation levels of auxiliary breathing muscles and thorax movement in classical singing.
000430 (2008) Eva Björkner [Suède]Musical theater and opera singing--why so different? A study of subglottal pressure, voice source, and formant frequency characteristics.
000431 (2008) Hans Larsson [Suède] ; Stellan Herteg RdVocal fold dimensions in professional opera singers as measured by means of laser triangulation.
000573 (2009) Gillian Johnson [Nouvelle-Zélande] ; Margot Skinner [Nouvelle-Zélande]The demands of professional opera singing on cranio-cervical posture
000642 (2010) Anick Lamarche [Suède] ; Sten Ternström ; Peter PabonThe singer's voice range profile: female professional opera soloists.
000644 (1991) E. Yanagisawa [États-Unis] ; J. Estill ; L. Mambrino ; D. TalkinSupraglottic contributions to pitch raising. Videoendoscopic study with spectroanalysis.
001082 (1993) J. Sundberg [Suède] ; I. Titze ; R. SchererPhonatory control in male singing: a study of the effects of subglottal pressure, fundamental frequency, and mode of phonation on the voice source.
001083 (1993) H K Schutte [Pays-Bas] ; D G MillerBelting and pop, nonclassical approaches to the female middle voice: some preliminary considerations.

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