Vocal tract acoustics - singing.
The voice is often described in terms of a simplified source-filter model: the source is the harmonic-rich signal produced by the vocal folds and the filter is the upper tract, which has several resonances and which acts as a variable, tunable impedance matcher to the external radiation field. Singers trained in different styles both adjust the source function and tune the resonances to achieve a range of different effects. With suitable feedback, singers may learn these advanced techniques more easily. The lab has unique technologies and has published several papers on the acoustics of singing, but there is much more to investigate, especially regarding interactions between the vocal fold motion and the standing waves in the tract. (More details at www.phys.unsw.edu.au/music. Contact John Smith or Joe Wolfe.)

Vocal tract acoustics - speech.
In speech, the frequency of the source signal produced by the vibrating vocal folds is not of primary importance. This project will examine the characteristic resonances associated with different vowel sounds in different languages, and examine how the available phoneme space is subdivided for both production and perception. This research has a range of potential applications, some of which may be followed according to the inclination of the student. We also study the interactions between the vocal fold motion and the standing waves in the tract, but list this under singing, because experiments are more readily conducted on sustained steady phonations. (More details at www.phys.unsw.edu.au/speech. Contact John Smith or Joe Wolfe.)

Acoustics of brass instruments - the effect of the player's vocal tract.
When playing a brass instrument, the player's lips are coupled acoustically to two resonators. The acoustical properties of the bore of the instrument are relatively well understood, but those of the player's vocal tract have hitherto been difficult to measure. This is now possible, using techniques developed in the lab. This project looks at the influence of the tract on timbre and pitch in different aspects of performance, and will build upon the measurement techniques we developed for the dijeridu and for woodwinds. (More details at www.phys.unsw.edu.au/music. Contact John Smith or Joe Wolfe.)

Acoustics of woodwind instruments - fingering, embouchure and tract interactions.
How are the many control parameters varied in woodwind playing? What is required to produce desirable sounds and smooth, reliable transitions between notes on a wind instrument? Why do players spend so much time practising scales and arpeggi? This project investigates how fingers, embouchure and vocal tract configuration are adjusted and coordinated in different aspects of performance. This project uses unique technologies in the lab to measure the performance of real musicians. We also use an automated clarinet player to test some of the ideas. (More details at www.phys.unsw.edu.au/music. Contact John Smith or Joe Wolfe.)

Acoustics of wind instruments – vibrato, tone colour and expression.
This project looks at timbre and expression, including vibrato, its causes, use and effects. Spectral envelope may be varied by players, and vibrato and other features of the temporal envelope are important aspects of musical expression. What physiological parameters are varied to vary timbre and to produce vibrato? What effect do they have on the output sound? How these physical and physiological effects used in performance, and what are the corresponding perceived qualities in the sound? The project will combine measurements of embouchure and vocal tract response with measurements of the sound. (Contact John Smith or Joe Wolfe.)

Collaborative projects between the School of Physics and the School of Music and Music Education.
Many questions of great importance to music performance involve physical questions. A keen musician, with a strong practical bent, would be capable of doing serious research that involves direct measurement of the physics of instrumental performance. The two Schools have collaborated in the past and are continuing to do so. Students who are interested in enrolling for a postgraduate degree in music, with external part-supervision from the Acoustics Group should discuss the project with us. (Contact John Smith or Joe Wolfe.)