In order to sing or speak, around one hundred different muscles in our chest, neck, jaw, tongue, and lips must work together to produce sound. Beckman researchers investigate how all these mechanisms effortlessly work together–and how they change over time…
The sound of the voice is created in the larynx, located in the neck. When we sing or speak, the vocal folds–the two small pieces of tissue–come together and, as air passes over them, they vibrate, which produces sound.
After 10 years of working as a professional singer in Chicago choruses, Aaron Johnson’s passion for vocal performance stemmed into research to understand the voice and its neuromuscular system, with a particular interest in the aging voice…
Thanks to the magnetic resonance imaging (MRI) capabilities in Beckman’s Biomedical Imaging Center (BIC), Johnson can view dynamic images of vocal movement at 100 frames per second–a speed that is far more advanced than any other MRI technique in the world…
The basis for the technique was developed by electrical and computer engineering professor Zhi-Pei Liang’s group at the Beckman Institute. Sutton and his team further developed and implemented the technique to make high-speed speech imaging possible.
“If I Only Had a Brain” (also “If I Only Had a Heart” and “If I Only Had the Nerve”) is a song by Harold Arlen (music) and E.Y. Harburg (lyrics). The song is sung in the 1939 film The Wizard of Oz by the characters that meet Dorothy. The characters pine about what each wants from the Wizard. It was also sung in Jeremy Sams and Andrew Lloyd Webber’s 2011 musical adaptation with an additional reprise called “If We Only Had a Plan” when the characters discuss on how to rescue Dorothy in Act II.
– and there are no vampies in this music video. But, it’s a segment appearing near the end of ONLY LOVERS LEFT ALIVE by Jim Jarmusch. Worth seeing. This clip offered color from the neighborhood in Tangier where Adam and Eve returned to live in peace.
And I discovered Yasmine Hamdan:
The lovely Irish folk tune Port na bPÃºcaÃ (The Music of the Fairies) had mystical beginnings and it’s said that the people of the Blasket Islands heard ethereal music and wrote an air to match it, hoping to placate unhappy spirits. Seamus Heaney’s poem The Given Note tells of a fiddler who took the song out of wind off mid-Atlantic:
Strange noises were heard
By others who followed, bits of a tune
Coming in on loud weather
Though nothing like melody.
Recent research suggests that, rather than fairies, the islanders may have been hearing the songs of whales transmitted through the canvas hulls of their fishing boats. Humpback whales pass through Irish waters each winter as they migrate south from the North Atlantic, and their songs seem to resemble the folk tune.
Ronan Browne, who plays the air above on Irish pipes, writes, In the mid 1990s I went rooting through some cassettes of whale song and there in the middle of the Orca (Killer Whale) section I heard the opening notes of Port na bPÃºcaÃ!â…
Some Hopi people lovingly refer to their remote reservation as “the doughnut hole” because it’s surrounded by the Navajo Nation and so far from a major city.
But three decades ago tribal members convinced Jamaican artists from the SunSplash reggae festival to make a major detour off the Interstate and venture all the way out to Hopi land.
Since then the Hopi have organized dozens of reggae concerts.
Jennifer Joseph, who goes by Jonnie Jay on KUYI Hopi Radio, recalls when reggae was first introduced to Hopi.
“The artists that came, they didn’t play to crowds that were 10,000,” Joseph said. “They played to crowds of less than a hundred. But they came and they came and they came because they felt the roots. They felt the connection.”
For three decades many Hopi have adopted reggae as their music of choice. It’s difficult to travel the three mesas that make up the reservation without seeing several gold, red and green bumper stickers, not to mention someone in a Bob Marley T-shirt.
Joseph said the Hopi can connect with a lot of reggae music’s themes, but oppression really hits home.
“Although they sing about their strife and issues where they live, we can really relate to it,” Joseph said. “Those are the same issues we face everyday up to today. And it’s always Babylon coming down on us…”
…KUYI Hopi Radio general manager Richard Davis said reggae has been a powerful yet peaceful expression.
“The message of peaceful resistance, conscious resistance is definitely something that is a direct link between Hopi culture and reggae music,” Davis said…
“Ziggy Marley he says love is his religion,” Joseph said. “Love is our religion. We were once the same people. When we came to this world we were all one people.”
Glad to hear the Reggae continues. I was at the Sunsplash concerts on Hopi Tribal land, early days. Great fun. Audiences tended to be Hopi, Anglos and Apaches. Navajos rarely attended – no surprise. I don’t know if that ever changed.
The music was a gas and, yes, it fit right. RTFA for context.
Proving you needn’t have a crew big enough to fill Grand Central Station to put a smile on someone’s face.
I play this video a couple times a month. Nice way to start off the day.
Thanks, again, Ursarodinia – GMTA
Best Jingle Bells ever.
And as ever – thanks to Om Malik for pointing this out to the rest of the West.
The only thing better than state-of-the-arts robotics is when it’s combined with Force 9 cuteness. Japanese electronics company Murata Manufacturing has given us one example with the unveiling if its robotic Cheerleaders. The squad of ten ball-mounted robots uses advanced ultrasonics, infrared, and group control technology to perform synchronized dance routines with perfect stability.
The Murata Cheerleader stands 36 cm tall. The pom poms of the Murata Cheerleader are part of the balance system.
The Cheerleaders were built in collaboration with Matsuno Lab at Kyoto University and represent Murata’s fourth generation of robots. The design is based on the company’s bicycle-riding Murata Boy and unicycle-riding Murata Boy, though the Cheerleader robots are designed to represent “elementary school students full of energy and curiosity…”
Who says robots can’t be cute en masse?
Pharrell Williams made his song “Happy” freely available to use and encouraged people all over the world to make their own videos for the song. Hundreds of groups have taken him up on the offer, but most are lip-dubs or dancing to the original recording.
This one is a full cover version in Swahili, liberally sprinkled with French, from the city of Goma, in the Democratic Republic of Congo. The performers, from KivuYouth Entertainment, are awesome.
I have an abiding love for Afro-French rock. My favorite of the genre being Wock. And special thanks to Ursarodinia for finding this and passing it along.