Singing show tunes helps fight off dementia, Alzheimer’s disease: study

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BY David Harding
NEW YORK DAILY NEWS
Tuesday, November 12, 2013

Singing show tunes helps fight off dementia, Alzheimer’s disease: study
A recent research study found that those suffering from moderate to severe dementia did particularly well singing show tunes from movies and musicals such as ‘The Wizard of Oz,’ ‘The Sound of Music’ and ‘Oklahoma!’ in group settings and had a marked improvement in their remembering skills versus those who simply listened during the sing-alongs.

The hills are alive with the sound of music, which could help people with Alzheimer’s stave off the effects of the debilitating disease.

A study by U.S. scientists has shown that the brain function of those suffering from dementia can be improved if they belt out their favorite show tunes.

Researchers working with elderly residents at an East Coast care home found in a four-month long study found that people who sang their favorite songs showed a marked improvement compared to those who just listened.

Among the songs sung during 50-minute sessions were hits from “The Wizard of Oz,” “Oklahoma!” and “The Sound of Music.”

The most improvement was among those sufferers with moderate to severe dementia.

Jane Flinn, one of the scientists involved in the study who works at George Mason University in Virginia, concluded singing was beneficial.

“Even when people are in the fairly advanced stages of dementia, when it is so advanced they are in a secure ward, singing sessions were still helpful,” she said.

“The message is: don’t give up on these people. You need to be doing things that engage them, and singing is cheap, easy and engaging.”

How to keep boys in choir when their voices change

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By Lindsey Bever February 13 at 5:12 AM, THE WASHINGTON POST

The world’s best boys’ choirs have been losing their sweetest sopranos earlier and earlier to puberty. Every choir director knows that the crack, croak or squeak from a young singer means the boy will soon have a different sound. Many boys never stick with it through this voice change to see where it takes them.

That’s why the Cincinnati Boychoir is partnering with researchers from the Cincinnati Children’s Hospital Medical Center to study the science behind boys’ changing voices and learn better ways to help them transition as singers.

“Many choral directors and voice teachers believe that the voice change is a primary reason for boys quitting singing as they enter puberty,” Christopher Eanes, Cincinnati Boychoir’s artistic director and co-author of the upcoming study, told The Washington Post in an e-mail. “Who can blame a boy who, when singing, becomes uncomfortable for a time, follows his friends to the football team, never to look back at his musical career.”

“When one thinks about the fact that boys’ voices in the 18th century changed at 17 or 18 years old, and now they change around 12 or 13 years old, one can only conclude that boychoirs are heading for extinction,” he added.

Later this month, researchers will begin to study the physiological, aerodynamic and acoustic changes that happen when boy singers hit puberty. Some 20 Cincinnati Boychoir members from ages 5 to 11 will participate in the study, which is expected to last about two years. The boys will speak and sing in a sound booth, and researchers will examine their larynxes and voice boxes to see how they change during certain tasks, co-author Alessandro de Alarcon, an ear, nose and throat doctor at the Cincinnati Children’s Hospital, told The Post.

Over time, the researchers said, they hope the study will shed more light on how the male voice changes during puberty, particularly in vocalists, so voice teachers will know how to intervene to help them move into their adult voices.

“My personal hope is that we can, on some level, anticipate voice change stages in order to assign the appropriate voice part for a boy, or to design appropriate vocal exercises to strengthen certain aspects of the singing voice,” Eanes said. “Overall, anything we can do to make the voice transition more comfortable for boys will help us as teachers and conductors.”

SINGING WITH A COLD

Singing With a Cold

by Anthony Jahn, M.D.

CLASSICAL SINGER

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It’s most singers’ nightmare. Two days before an important engagement, it begins: the stuffy, itchy nose; the headache; and the congestion. A cold is on its way, and your engagement cannot be canceled. You know the cold will usually run its course in a week—but you must sing now, and make the best of it. What to do?

Short of canceling (a wise choice, if it is an option), you can do several things to make the course of your infection shorter and less severe, and lessen its impact on your voice.

Colds are caused by rhinoviruses. Normally transmitted by physical contact or the aerosol droplets of a sneeze, these viruses can survive outside of the body for up to 72 hours—you don’t need to be infected in real time by someone with a cold.

As the name implies, rhinoviruses have an affinity for your nose. Typically, they begin the infection by attaching themselves to the mucous membrane in your nasal passages. There, they start to multiply and the clinical symptoms begin. Rhinitis progresses to nasal congestion, postnasal drip, then laryngitis, cough, and possibly, bronchitis.

What can you do once the viruses have landed?

Everyone has his or her favorite routine for dealing with a cold. I would like to give you some of mine, and, if the show must go on, some tips on singing with a cold.

Numerous scientific studies have shown that zinc can help. Zinc gluconate tablets, or nasal swabs (such as Zicam), when wiped over the infected mucosa, can be beneficial. Zinc not only shortens the duration of the cold, it also lessens the severity of the symptoms, and (attention choral singers) shortens the period during which you are contagious. Zinc seems to work only once the cold has begun, however—it has no preventive effect, so you don’t need to take daily zinc prophylactically.

If your nose is not too congested, you should begin (or increase) using saline nasal spray or irrigations. You can find many manufactured solutions at the drug store, but I recommend a Neti pot with lukewarm saline that you make up yourself. Why? It’s cheaper and easier.

Unlike Zinc, vitamin C does have some preventive effect. Whether you take vitamin C preventively or not, you should increase your intake once the cold has started. I recommend 4,000 mg in divided doses daily, though some physicians recommend even more. Since vitamin C is water soluble, you won’t poison yourself with excessive amounts—it is simply excreted in the urine. Side effects however may include mild diarrhea and heartburn.

Echinacea and goldenseal are two herbs often recommended for treatment of a cold. Again, you should take them once you have a cold. Whatever benefit they may confer, they do not prevent inoculation of the virus.

OK, you’ve done all you can, yet the cold continues. What to do, what to avoid?

As much as possible, avoid antihistamines. Antihistamines, especially the proprietary mixtures such as DayQuil or NyQuil, are very drying and make phonation difficult. Decongestants such as Sudafed, on the other hand, are a bit drying, but the benefit may outweigh the negative effect. Inhaling warm steam before the performance is helpful, perhaps with a drop or two of eucalyptus oil in the pot. This soothes the upper airway and loosens sticky mucus.

From the vocal point of view, your difficulties will be on the top and in the passaggio. Swelling and thick mucus on the vocal folds affect the top, and irritation of the pharynx affects the passaggio. This may require you to push, to muscle the voice more than usual. Support may also be affected, especially if you have chest congestion and are dealing with a cough.

When singing with a cold, it is important to be aware of support, and also to realize that you may temporarily need to use suboptimal technique to get the voice out. As soon as the cold passes, conscientiously revert to your good technique, opening the pharynx, lowering the larynx, and anchoring the voice in the lower abdomen and pelvis. In other words, do whatever is necessary to get the voice out, but as soon as possible, return to your normal good technique, otherwise your temporary compensation may itself become a problem.

Many singers think they “sound better” with a cold. They don’t. When you have a cold, more sound is absorbed into the swollen tissues of the upper airway, so to your ears the voice (conducted directly through the body) sounds louder. This conducted sound favors lower frequencies (with longer waves), so the sound seems not only louder, but also deeper. The voice coming out of your mouth, however, is not what you hear inside, so don’t be deceived.

Perhaps most importantly, you must rest your voice after your ordeal. You can get through one or two performances with a cold perhaps, but continued singing while impaired can cause damage.

Norman Punt, the English laryngologist, once quipped that the difference between a professional singer and an amateur is that the professional can sing even when he doesn’t want to, and the amateur can’t, even when he does. The singer with a cold exemplifies this aphorism. None of this advice will lead to a great performance, but it can be an adequate one.

Anthony Jahn M.D., noted author and professor of clinical otolaryngology at the Columbia University College of Physicians and Surgeons, has offices in New York and New Jersey. His book, The Care of the Professional Voice, now in its second printing, is available on the CS website.
E-mail the author at: jahn@classicalsinger.com

Deliberate Practice Brings Perfection

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December 28, 2013,

www.bigthink.com

People look at people we call geniuses, people who are at the very, very top of their field and think what do they have? They must have some kind of quality that all these other people don’t have and they must have been born with that because you can’t see what it is.

That’s what this researcher named Anders Erickson wanted to know and it’s been the subject of his own lifetime of study. He has built an army of researchers to study the invisible processes of acquiring skills and going from mediocrity to being really good at stuff.

It turns out that it’s a kind of persistence and a way of embracing failure, which Erickson calls deliberate practice. The idea is you push yourself slightly beyond your skill level and you want to fail. The idea is when you’re practicing the violin you’re not just trying to reinforce what you already can do. You are reinforcing what you already can do and then trying to do it faster or better or with more emotion or more dynamism or whatever you’re shooting for and you’re pushing yourself until you find a place where you can’t quite get there. And then you work at that and you work at that and you work at that and it’s not that enjoyable. Erickson really emphasizes it’s not the enjoyable part of practice.
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The difference in personalities between people who get good at stuff or get great at stuff is the people who get great at stuff really enjoy, not in a fun way, but they really find this kind of satisfaction in this constant pushing process.

In Their Own Words is recorded in Big Think’s studio.