An Effective Singing for Musical Expressions

Transcription

1 An Effective Singing for Musical Expressions Kiyomi Toyoda, *1 Tsutomu Fujinami, #2 * Tokyo Nikikai Opera Foundation, Japan # Japan Advanced Institute of Science and Technology, Japan 1 petro-m@rapid.ocn.ne.jp, 2 fuji@jaist.ac.jp, ABSTRACT It is widely accepted among singers and voice trainers that singing in the same manner for opening throat like yawn may result in increasing the resonance and thus allow singers to express the content of music in detail. We carried out an experiment to investigate whether the practice is effective in improving vocal skills. We employed a female singer, whose repertoire is mostly consisted of classical music, and asked her to adopt the particular way of singing. We measured its effect in two aspects:1) Objectively, we measured the vibration of her body while she was singing using a laser interferometer, an innovative optical sensing technology, and 2) Inter-subjectively, we measured how listeners perceived the content of music composition with a questionnaire. As the result, we found the technique to be effective in increasing the resonance of the voice by opening the cavity of larynx and pharynx. The FFT analysis of the vibration revealed that the spectrum values around high tones( hz) were distinctively high when she opened the cavity of larynx and pharynx, compared to the ones when she did not adopt such a technique. We examined how thirty listeners perceived the content of a song by adopting the Music appreciation evaluation experiment (Mood Adjective Check List) to observe its effects as we expected. We conclude that the singing, in which the throat opens like yawn, resulted in increasing the resonance of voice. We believe that our finding will help singers to improve his or her vocal-skill in musically meaningful ways. I. INTRODUCTION We propose a strategy for supporting the creativity for singing classical music. We believe that our scientific approach to singing will improve vocal skills effectively. The first author is a professional singer specialized in classical music and the resonance of her singing voice was examined and verified by a parietal vibration measurement. We investigated how her singing was perceived by the listener with a questionnaire called Mood Adjective Check List. An optical fiber sensor was installed in parietal of her resonance (nine places) and a parietal vibration was measured when five vowels were sung in the voice region of high/middle/low The measured vibration data were analyzed by FFT (Fourier), and examined for the effect on the resonance of the singing voice to which the space of the cavity of larynx and the cavity of pharynx were widely opened by the sense of the yawn. Afterwards, we measured how listeners perceived the content of music composition with a questionnaire. A. Early research Dr.Kirikae and Dr.Sato researched the resonance of the voice measuring the vibration of body each place by using the bone conduction terminal. They examined the vibration when five vowels were uttered because of the chest voice. Dr.Takeda and Dr.Yoneyama measured a bone conduction and a parietal vibration of own voice by the conversation in parts of the body with an optical fiber sensor. They were able to catch a considerably minute vibration wave with the optical fiber sensor that measured the temperature and the distortion by light. We measured a parietal vibration of the resonance of the singing voice to open the space to the cavity of larynx and the cavity of pharynx widely by the sense of the yawn with this optical fiber sensor. And, we investigated the effect on the expression of the song by the singing voice to open the space to the cavity of larynx and the cavity of pharynx widely by the sense of the yawn. B. The composition of this thesis After "introduction" and "Vocal mechanism of the classical music singing" were described, the effect on the resonance of "Singing voice to which the space of the cavity of pharynx and the cavity of larynx was widely opened by the sense of the yawn" was verified and considered by the parietal vibration measurement experiment. Afterwards, it questioned whether the singing expression by this singing voice had been perceived to the listener. "Mood Adjective Check List" was used for the questionnaire. And, the end of this paper is "Conclusion." II. VOCAL MECHANISM Of CLASSICAL MUSIC SINGING The classical music has two fields of instrumental music and vocal music, and the singing belongs to vocal music. Vocal music makes original musical instruments that the individual is suitable for own bodily features though musical instruments are prepared beforehand as for instrumental music. The voice for vocal music is a voice to accompany the overtone that the breath adjusted to sing reaches resonance through vocal chords. The singing expression is made by the change in singing voice height, strength, continuation, and the quality. The change of the singing voice is made by controlling the muscle and the cartilage. The singer trains feelings to be expressed in the singing voice automatically to the target by the breath method, vocalism, and the resonance method. Husler.F insisted as follows. Singing is man's natural impulse, and a body function to sing has become weak according to the development of language. We recognize the redevelopment of bodily functions to sing is making musical instruments of vocal music. A. Structure and function of larynxes The larynx is an organ that converts the breath into the sound. The structure of the larynx is as follows. The upper part of the spine ( - cervical vertebra) supports the back side of the larynx. The frame in front of the larynx consists of Cartilage thyroidea, annular cartilage, and cartilago epiglottica, A pair of arytenoid cartilage, Several cartilages, One hyoid, Larynx muscle and outside larynx muscle of the movable connection of them, and Various PREPRESS PROOF FILE 1 CAUSAL PRODUCTIONS

2 kind of ligaments. The cartilage thyroidea can incline forward and backward, and it is possible to slip in arytenoid cartilage(one pair).it explains the laryngeal tone in following. Breath and the utterance for the singing are done by opening and shutting the glottis of vocal chords. The right and the left of vocal chords are couple. The right and left on the former edge of vocal chords bonds from the other side in the vicinity of the center of the cartilage thyroidea toward the horizontal direction of the back side. The glottis between both sides vocal chords opens and shuts by opening and shutting the edge of a reverse-side, too. Vocal chords are at the entrance of the trachea, consist of up heaving mucous membrane and muscle, and are the structures of three layers. The structure of three layers is composed of Mucous membrane cuticle with a thin surface,, Tela submucosa to which movability is very abundant, and Muscular layer of the depths. The function of intrinsic muscles of the larynx at that time is as follows. The singing voice receives the adjustment of intrinsic muscles of the larynx to the change in Height, strength, continuation, quality. B. Laryngeal tone and Voice Laryngeal tone ; The pressure of the breath hangs to the part where right and left vocal chords shut and it is wrenched open. Vocal chords that the close promoted by the effect of Bernoulli are wrenched open again by the flow of the breath at the next moment. The flow of the breath is divided into parts to the number of vibrations of vocal chords and makes the compressional wave of the current of air. We are listening to it as "Sound" (sound wave). Voice ; The laryngeal tone resonates to resonance (cavity of larynx, cavity of pharynx, mouth, nasal cavity, accessory nasal sinus, and head, etc.) above vocal chords, generates the overtone, amplifies each specific band, and spreads. We listen to the sound that is amplified the overtone of each specific band of the laryngeal tone (sound wave) and spreads. The change in the resonance of the voice is made by adjusting vocal chords (shape, tension, and opening and shutting) and resonance (shape and space). We confirmed the laryngeal tone was processed to various voices by the resonance. C. Formation of voice Three levels necessary for the voice formation are the motive power of the voice, the sound sources of the voice, and the colors of the voice. 1) Level of breath- Motive power of voice. The expiration style and the expiratory pressure exhausted from lungs through the trachea are the energy sources of the voice formation. 2) Level of larynx- Sound source of voice. The sound source of the voice (laryngeal tone) arises when the kinetic energy of the expiration style is converted into the acoustic energy through the vibration of the vocal cord. 3) Level of resonance- Tone of voice. The laryngeal tone resonates to resonance (cavity of larynx, cavity of pharynx, mouth, nasal cavity, accessory nasal sinus, and head, etc.) above vocal chords, generates the overtone, amplifies each specific band, and spreads. The sound source can change into various tones by vibrating to resonance. D. Resonance of voice The energy put out by the respiratory organ is converted into the acoustic energy (voice) by the larynx. The singer can make the singing voice of various tones by changing the shape of resonance, and changing the size. III. PARIETAL VIBRATION MEASUREMENT EXPERIMENT Widely opening the space of the cavity of larynx and the cavity of pharynx by the sense of the yawn gives the effect to the resonance of the voice. Advice Open the throat by the sense of the yawn is used by the vocal music guidance. Why is it Yawn? Because the yawn is a physiological reaction to take oxygen to the body efficiently. The space of the cavity of larynx and the cavity of pharynx is most widely opened for the person regardless of the difference of individual bodily features. In the state at Yawn, it extends between ribs, the soft palate goes up, the base of the tongue falls, and the epiglottis occurs. The effect of the vibration of the laryngeal tone to resonance by those states is proven by the experience of the singer of successive. We tried the experiment and the verification of this hypothesis. B. Outline of experiment A parietal vibration of singer T of the singing in resonance nine places was measured with a Fiber-optic Doppler(FOD) Sensor( The sensor installation part is previously shown about the arrow of figure. The shape of the throat of singer T in the experiment is the following (1) and (2). (1) The yawn is not considered and the shape of the throat that doesn't expand the space of the cavity of larynx and the cavity of pharynx. (2) Shape of throat that expands space of cavity of larynx and cavity of pharynx by sense of yawn. Singer T sang vowel (AEIOU) in order of (1) (2). Three kinds of compasses that singer T sang are as follows. They were (B-H/ Hz), (A/ Hz), and (F # -G #,/ Hz). The measurement data analyzed FFT (Fourier). We saw and compared analytical data of Parietal vibration and Frequency element of the voice. The body posture and the consideration when experimenting are as follows.the body posture and the consideration of singer T of (2) are as follows. Singer T opens both feet in breadth of her shoulders and leaves. Her mind and body is relaxing. In her consideration, her body is hung from the heaven like the puppet, and her weight is supported by the point on the other side of the earth under her foot. The eyebrow goes up by considering the sense of the yawn, the mouth opens, the soft palate goes up, and the base of the tongue falls. At the same time, singer T is conscious of enhancing between ribs. The sensor installation part is shown previously about the arrow of Figure 1, and one sensor installation example is shown in Figure 2 2

3 Sensor Figure 1 One sensor installation example: Sternal region C. Experiment result Figure 3 shows the parietal vibration measurement result. Because the difference had not been admitted in the result of each vowel, we displayed it bringing the result of five vowels together according to each compass. The spindle is a Spectrum value, and a horizontal axis is a frequency. As a result, Singing voice by the shape of the throat to which the space of the cavity of larynx and the cavity of pharynx had been expanded by the sense of the yawn was obviously stronger than that of Singing voice without the sense of the yawn in the compass of ( Hz, Hz) the energy of the bandwidth of each vowel. The compass of ( Hz) did not have the difference of the measurement result of Singing voice by the shape of the throat to which the space of the cavity of larynx and the cavity of pharynx was expanded by the sense of the yawn and Singing voice by the shape of the throat without the sense of the yawn. The face front Master wrestlers cave [ Hz] Ethmoidal sinus Upper jaw cave [ Hz] Sternal region Face left side [ Hz] Right and left mandible joint The seventh cervical vertebra Figure 3 experiment The result of parietal vibration measurement Figure 2 The sensor installation part D. Consideration Hypothesis The singing voice by the shape of the throat to which the space of the cavity of larynx and the cavity of pharynx had been expanded by the sense of the yawn is effective in the resonance of the voice" was verified in the 3

4 compass of ( Hz, Hz) of singer T. Shape of the throat that expanded the space of the cavity of larynx and the cavity of pharynx by the sense of the yawn was not effective in the resonance of the voice for the compass of ( Hz). We considered to be corresponding the result of this research and the early research (There were neither a power value of the resonance nor a correlation with loud voice). IV. MUSIC APPRECIATION EVALUATION EXPERIMENT A. Purpose and background of experiment We investigated whether the singer's expression intention by the change of the singing voice by Shape of the throat to which the space of the cavity of larynx and the cavity of pharynx had been widely opened by the sense of the yawn was perceived to the listener of the singing. How is the singer's expression intention obtained? It is obtained by repeating the score analysis of the musical composition and the study of the cultural context. The expression intention is achieved by the change of the singing voice. The singing expression is achieved by the change in singing voice height, strength, continuation, and the quality. There is a lesson by the specialist in one of the methodsof studying the singing expression. Participating singer and student try an own singing skill improvement by listening to the song of the specialist, and knowing the person's physical exertion and singing expression at the same time. In this research, it proposes to describe the learning process in the metacognition in addition to the method. The content is a description of the process where the singing expression is formed based on the interpretation and the understanding of the musical composition. The content of this description is a self-observation in the singing and a self-analysis. B. Approach to the music piece We adopted the following one song. The song is Hometown where flower scatters (Hana chiru sato). Composer is Korehisa Shiba.(1928- Japan).Composition year is on April 19, The tonality of this score is emoll, and the rhythm is three-quarter. The Author of poetry is Akiko Yosano (The Tale of Genji. translation in 1938). The reason to adopt Japanese song Hometown where the flower scatters(hana chiru sato is that the singer and the testee are Japanese. Because the questionnaire in the evaluation word should avoid the bias by the language and the culture by attaching importance to a word, feelings, and a common cultural base. Singer T analyzed the score, and studied the cultural context. This score has a big jump of the sound in the melody. The big jump of the sound is expression of clear sadness and pleasure. The meaning of poetry is as follows. "The wild orange flower and the anxiety of love have scattered. The cuckoo recalls the smell of the flower and love and sings". Singer T read The Tale of Genji of a Japanese translation of the present age of Yosano Akiko. The score of this song is displayed in Figure 4. The interpretation by Singer T is following. The cuckoo symbolizes Hikaru Genji. The cuckoo's barking means Hikaru Genji cries. The smell of the flower symbolizes the old memories. Hikaru Gebji cried because it recalled dear old times. He visited the woman who had lived together in old times. He did not visit her for a long time. Nevertheless, this woman's love continues. This woman is not so beautiful. She had a noble character and soft atmosphere. This woman lived lonesomely alone. However, her mind was peaceful because there were nostalgic memories with Hikaru Genji. Hikaru Genji loved her than before. He was healed by her. "Hometown where flower scatters (The Tale of Genji) " Composer: Korehisa Shiba, Poet: Akiko Yosano Ko--i -su na-ku na-ku breath no ure------i mo hototo-gi-su hototo-gi na-ku Figure 4. Score of song adopted for experiment C. Musical expression The jump of the interval of the phrase Koi no urei mo of was interpreted as follows. The expansion of the interval of the phrase of Koi no urei mo (width of the interval of nine) expresses a big emotion. The composer did not describe the rest under the breath display though displayed breath between Koi no and urei mo. The singer devised the following two methods. One is a method of stopping breathing by the breath display. If breath is stopped, momentary silence is caused. This silence emphasizes continuing u. Another one is a method of momentarily using the breath after Koi no. Singer T chose the method of using the breath. Because the breath and the muscular movement of corresponding are necessary for expressing a big emotion. However, the time for the breath is minimum. The strategy to the problem is to use the breath used by the phrase ahead of Koi no urei mo. It is a sense that adds the breath to the breath left by the previous phrase in addition. The state of the body when the strategy succeeds is as follows. The joint of the knee and the ankle loosens slightly, the bottom of the articulatio genus, the ankle, the heel, and the foot 4

5 balances from the pelvic muscle and articulatio coxae, and the body is supported. The repetition of the word( hototogisu and naku ) was interpreted as follows. hototogisu ; Because he is crying, it can be understood that a nostalgicdesire of Hikaru Genji is strong. The quality of a hard, strong voice was made strongly attacking the breath that sang each vowel of hototogisu to walls of the abdomen to express his strong desire. The quality of a hard, strong voice was made strongly attacking the breath that sang each vowel of the first hototogisu to walls of the abdomen to express his strong desire. Singer T confirmed the movement of muscles of the face with a mirror. The muscle on both eyes moved up and came near to a center. The upper jaw part of both cheeks went up. To express the sadness of a nostalgic desire of Hikaru Genji by the quality of a soft voice, hototogisu of the second times strongly considered the sense of the yawn. The second times moved to the position where the eyebrow was higher than the first time. naku ; Singer T gradually expanded the left side and the right side of the soft palate that was able to be confirmed by the sight, and moved his muscle on both eyes up. The size of the mouth opened by na did not change when nku was sung three times. The last word of this musical composition "Hometown where the flower scatters" is naku, and the last vowel is u. To sing this important u by an effective resonance, singer T sang by o. The resonance of this o was effective in the expression of heroine's gentle atmosphere. The singer and listeners share a rich resonance of the last voice. The time required is as follows: a)2:29 b)2:421. D. Content of experiment Question method is MACL(mood adjective check list). The actual experiment was a questionnaire to the perception of the listener of the singing expression. The cover experiment was the questionnaire concerning the theater. We prepared the singing by two kinds of expressions as follows. a) Expression of singing when score is seen for the first time b) Expression of singing after score analysis and poetry are studied(score reading) Because the influence that the first listening exerted on the second times was considered. The content of one CD is [1. a) b], and the content of another CD is [2. b) a]. Two kinds of CD were prepared in consideration of the influence that the first listening exerted on the second times. The number of each listener of 1, 2 is as follows. [1. a) b]:15 listeners,[2. b) a]:15 listeners. One group listened to the same tune twice. As a result, actual listeners were 30 people, and data by 60 listeners in total was totaled. Testees are the person who are not especially the lover of music. The ages of testees are as follows: years old: 23 people/30-29 years old: 4 people/49 years old from 40: 1 person/50-59 years old: 2 people. Testee's occupation is as follows: 19 university students and 4 teachers/ 4 company employees/ 3 housewives. When the score analysis and the poetry of the song were studied and the score was memorized naturally, singer T chose the word where the content of this song was expressed. We decided the evaluation words as follows. [Words to expect evaluation] is dearly, loneliness, softness, inconsolably, friendly, plaintiveness,. [Words not to expect evaluation] is darkness, desolate, melancholy, cheerfulness, violently, tidy,. We chose the word that denied the corresponding word, and included a pleasant word. To know the influence of Japanese poetry on the evaluation, we questioned two people besides the testee. Two people (28-years old /man) heard the reading of poetry as follows. ta-chi-ba-na-no,ko-i-no-u-re-i-mo,chi-ri-ka-e-ba,ka-wo-na-ts u-ka-shi-mi,ho-to-to-gi-su,ho-to-to-gi-su,na-ku, na-ku, na-ku One person described, The meaning of Japanese was not able to be understood and another described, Only hototogisu in poetry was able to be understood. As a result, we judged that there was no problem on the evaluation word check in Japanese. We prepared two kinds of order of the description of the evaluation word of the questionnaire form. The array of the evaluation word of those questionnaire forms is different. Because the influence of the check on the evaluation word of the first time on the second times is defended. The following instruction is in the questionnaire form. Please answer how the following word applies to your current feelings. Please enclose the corresponding scale with. no serious correspondence correspondence E. Experiment result We expressed the answer of the questionnaire numerically as follows, and then totaled the number. no serious correspondence. correspondence We display the evaluation words as follows. Words to expect evaluation ; (a) plaintiveness, (b) dearly, (c) friendly, (d) softness, (e) loneliness, (f) inconsolably. Words not to expect evaluation ; (g) desolate. (h) tidy. (i) darkness. (j) violently, (k) melancholy. (l) cheerfulness The result of each evaluation word is as follows. Word to expect the evaluation ; " (a) 125, (b) 120,(c) 105,(d) 95,(e) 113,(f) 123" Word not to expect the evaluation ; (g) 43, (h) 8, (i) 68, (j) 31, (k) 70, (l) 37. The total of the point of Word to expect the evaluation was 681 points. The total of the point of Word to expect the evaluation, was 287 points. The total of the point of Word to expect the evaluation, and the total of the point of Word to expect the evaluation, are displayed in Figure 5. The result of The first singing before score reading and Singing after score reading is displayed from Table 1 to Table 7. The content from Table 1 to Table 7 is as follows. Table 1 is a result of Word to expect the evaluation of The first singing before score reading of The first singing before score reading Singing after score reading. The content from Table 1 to Table 7 is as follows. Table 1 is a result of Word to expect the evaluation of The first singing before score reading of The first singing before score reading Singing after score reading,. Table 2 is a result of Word to expect the evaluation of Singing after score reading of The first singing before score reading Singing after score reading. Table 3 is a result of Word to expect the evaluation of The 5

6 first singing before score reading of Singing after score reading The first singing before score reading. Table 4 is a result of Word to expect the evaluation of Singing after score reading of Singing after score reading The first singing before score reading. Table 5 is a result of Word not to expect the evaluation of The first singing before score reading of The first singing before score reading Singing after score reading. Table 6 is a result of Word not to expect the evaluation of Singing after score reading of The first singing before score reading Singing after score reading. Table 7 is a result of Word not to expect the evaluation of The first singing before score reading of Singing after score reading The first singing before score reading. Table 8 is a result of Word not to expect the evaluation of Singing after score reading of Singing after score reading The first singing before score reading. (a),(b),(c),(d),(e),(f),(g),(h),(i),(j),(k),(l), in the table displays the evaluation word previously recorded. As a result, the possibility that the listener had perceived the singer's singing expression was suggested. Table 1. The result of "Word to expect the evaluation" of "The first singing before score reading " of "The first singing before score reading Singing after score reading " listener (a) (b) (c) (d) (e) (f) Total Total (157) Table 2. The result of "Word to expect the evaluation" of "Singing after score reading " of "The first singing before score reading Singing after score reading " Word to expect the evaluation, Word not to expect the evaluation Figure 5. The result of "Word to expect the evaluation" and "Word not to expect the evaluation F. Consideration The importance of Interpretation and understanding of the musical composition can be confirmed from the possibility that the listener perceived the singing expression of singer T. Because the musical expression of this research was created based on Interpretation and understanding of the musical composition. The desire to the quality improvement of the expression was caused by deepening of the interpretation and the understanding of the musical composition, and the improvement of the singing technology was recognized. We were able to recognize that understanding and interpretation of the musical composition, vocal technology and Singing in the concert worked mutual and supplementing, and the quality of the singing expression improved. It improves, and the singing expression of a control technology that breathes and is muscular is improved in the resonance acquisition of a more effective singing voice. The movement of Back of the gluteus, the pelvic muscle, the back, the foot between the diaphragm and the rib, and the ankle and the foot was imaged more clearly by a metacognition description of the musical expression formation process. listener (a) (b) (c) (d) (e) (f) Total Total (208) 6

7 Table 3. The result of "Word to expect the evaluation" of "The first singing before score reading " of " Singing after score reading The first singing before score reading " listener (a) (b) (c) (d) (e) (f) Total Total (127) Table 4. The result of "Word to expect the evaluation" of " Singing after score reading " of " Singing after score reading The first singing before score reading " listener (a) (b) (c) (d) (e) (f) Total Total (189) Table 5. The result of " Word not to expect the evaluation " of "The first singing before score reading " of "The first singing before score reading Singing after score reading " listener (g) (h) (i) (j) (k) (l) Total Total (57) Table 6. The result of " Word not to expect the evaluation " of " Singing after score reading " of "The first singing before score reading Singing after score reading " listener (g) (h) (i) (j) (k) (l) Total Total (45) 7

8 Table 7. The result of "Word not to expect the evaluation " of "The first singing before score reading" of "Singing after score reading The first singing before score reading" listener (g) (h) (i) (j) (k) (l) Total Total (100) Table 8. The result of " Word not to expect the evaluation " of " Singing after score reading " of " Singing after score reading The first singing before score reading " listener (g) (h) (i) (j) (k) (l) Total Total (85) V. CONCLUSION There might be an idea that it is a scientific research that the result of the research applies to a lot of people. We recognize that the problem of the song of the classical music belongs to the scientific discovery. Because it thinks the verification by one singer to suggest the possibility in other singers. If other singers hope for the experiment and the verification of own vocal technology, parietal vibration measurement experiment and Music appreciation evaluation experiment (Mood Adjective Check List) of this research can be used. We think that the hypothesis is original respectively because bodily features are different in the individual. The damage of the phonatory organ of the human body has the possibility of causing a fatal accident for the singing. Therefore, we think that the success by one testee of this research has an important meaning. The singing expression is achieved by a vocal technology. The musical composition and the body are systematized by studying repeatedly reading the score, and the desire to the quality of the expression arises. It is a vocal technology that realizes the desire to the quality of the expression. The meaning of this research is a presentation of the experiment method of non-invasiveness to the verification of a vocal technology. The singing expression is created by the change in singing voice height, strength, continuation, and the quality. The resonance of the singing voice is processed and the change is created. Sense of the yawn 's traditionally used for the utterance having verified effective in the resonance of the singing voice has the meaning of this research. The meaning of this research is a scientific verification in the effect to the resonance of Sense of the yawn. We think that a scientific approach to the classical music singing technology improvement will become effective more and more by the development of the machine in the future. We recognize that a joint research with the scientist in various fields of the knowledge science, life sciences, the medicine, the cranial nerve science, and engineering, etc. is necessary for the research on the singing. REFERENCES Hindemith, Paul. (1969). Composer s World: Shott. Mattheson, Johann. (1973)..Der vollkommene Cappell-meister: Hamburg. Facs V.C.I Nomura, Yoshio. (1971). Musical Aesthetics: Ongakunotomosha (in Japanese). Polanyi, M. (1996). The Tacit Dimension. Doubleday: New York. Roma, Lisa. (1966). The Science and Art of Singing, Interpretation and expression of Song: G. Schirmer. Yoneyama, Fumiaki. (2006). Breath Method of Voice: Heibonsha (in Japanese). Widmer, Gerhard. (2001). Using AI and machine learning to study expressive music performance: project survey and first report, AI Communication 14, Nonaka, Ikujiro and Takeuchi, Hirotaka (1995). Knowledge- Creating Company: How Japanese Companies Create the Dynamics of Innovation, Oxford University Press, Inc. Husler.F and Marling.R.Y(1965).Singing: The Physical-Nature of the Vocal Organ-A Guide to Unlocking of the Singing Voice, Faber and Faber Limited, London, Kiyomi Toyoda and Tsutomu Fujinami(2007). The Effects of Musical Expressions on Listeners-A Case Study of Western Classical 8

9 Music, International Symposium on Skill Science 2007 N/A18-20 September, 2007, Tokyo Kiyomi Toyoda, Taketoshi Yoshida, Yoshiteru Nakamori (2005).A Study on the Vitalization of Music Halls of Tokyo - An Application of Extended Soft Systems Methodology -, The First World Congress of the International Federation for Systems Research (IFSR2005), pp