Explore the vast range of titles available.

Abstract Disclosure: O. Onwudiwe: None. A.M. Aviles Melendez: None. K. Rajamani: None. Background: Leydig cell tumors of the ovary are rare benign tumors originating from the gonadal stroma, accounting for 0.5% of all ovarian tumors. These tumors can occur at any age but are most common in postmenopausal women. They are associated with hyperandrogenism, often leading to rapid medical attention due to social and physical implications, such as elevated testosterone levels. This case describes a soprano singer who experienced voice deepening and was found to have a Leydig cell tumor of the ovary. Case: A 72-year-old woman with a history of invasive ductal breast carcinoma presented with clitoromegaly, hirsutism, deepening voice, and male pattern hair loss. Her breast cancer, diagnosed two years prior, had been treated with chemotherapy, mastectomy, radiation, and Anastrozole, leaving her in remission. Elevated testosterone levels were detected during evaluation. An abdominal CT and pelvic ultrasound showed no adrenal or ovarian masses. Anastrozole was suspected to be the cause of her hyperandrogenism, so it was replaced with Tamoxifen. However, repeat bloodwork after three months still showed elevated testosterone, and her symptoms persisted. An MRI identified a 2 cm mass on the left ovary, leading to a diagnosis of a hormonally active Leydig cell tumor. She underwent bilateral salpingo-oophorectomy, and pathology confirmed the diagnosis. Post-surgery, her testosterone normalized, clitoromegaly resolved, her voice returned to normal, and she regained her ability to sing. At follow-up, her hair was re-growing, and she resumed Anastrozole therapy. Discussion: Hyperandrogenism in women, as seen in this case, can be distressing. In reproductive-age women, it is often caused by polycystic ovarian syndrome (PCOS), but in postmenopausal women, adrenal or ovarian tumors must be considered. Other causes, such as hypothyroidism or acromegaly, should also be excluded. Anastrozole, an aromatase inhibitor, can complicate diagnosis by increasing androgen levels, as it blocks the conversion of testosterone to estrogen. In this case, imaging eventually identified a Leydig cell tumor, a rare benign cause of virilization. Most postmenopausal virilizing ovarian tumors are benign, and bilateral salpingo-oophorectomy is curative. Conclusion: Sudden hyperandrogenism in postmenopausal women warrants investigation for hormonally active ovarian tumors. These tumors, though distressing, are curable with surgery. Long-term follow-up is essential to monitor for recurrence or metastasis, even in benign cases. Presentation: Sunday, July 13, 2025

Singers convey meaning via both text and music. As sopranos balance tone quality and diction, vowel intelligibility is often compromised at high pitches. This study examines how sopranos modify their vowels against an increasing fundamental, and in turn how such vowel modification affects vowel intelligibility. We examine the vowel modification process of three non-central vowels in Cantonese ([a], [ɛ] and [ɔ]) using the spectral centroid. Acoustic results suggest that overall vowel modification is conditioned by vowel height in mid-ranges and by vowel frontness in higher ranges. In a following perception task, listeners identified and discriminated vowels at pitches spanning an octave from A4 (nominally 440 Hz) to G♯5 (nominally 831 Hz). Results showed that perceptual accuracy rates of the three vowels’ match their acoustic patterns. The overall results suggest that vowels are not modified in a unified way in sopranos’ voices, implying that research on sopranos’ singing strategies should consider vocalic differences.

Due to a lack of empirical data, the current understanding of the laryngeal mechanics in the passaggio regions (i.e., the fundamental frequency ranges where vocal registration events usually occur) of the female singing voice is still limited. In this study the first and second passaggio regions of 10 professionally trained female classical soprano singers were analyzed. The sopranos performed pitch glides from A3 (ƒo = 220 Hz) to A4 (ƒo = 440 Hz) and from A4 (ƒo = 440 Hz) to A5 (ƒo = 880 Hz) on the vowel [iː]. Vocal fold vibration was assessed with trans-nasal high speed videoendoscopy at 20,000 fps, complemented by simultaneous electroglottographic (EGG) and acoustic recordings. Register breaks were perceptually rated by 12 voice experts. Voice stability was documented with the EGG-based sample entropy. Glottal opening and closing patterns during the passaggi were analyzed, supplemented with open quotient data extracted from the glottal area waveform. In both the first and the second passaggio, variations of vocal fold vibration patterns were found. Four distinct patterns emerged: smooth transitions with either increasing or decreasing durations of glottal closure, abrupt register transitions, and intermediate loss of vocal fold contact. Audible register transitions (in both the first and second passaggi) generally coincided with higher sample entropy values and higher open quotient variance through the respective passaggi. Noteworthy vocal fold oscillatory registration events occur in both the first and the second passaggio even in professional sopranos. The respective transitions are hypothesized to be caused by either (a) a change of laryngeal biomechanical properties; or by (b) vocal tract resonance effects, constituting level 2 source-filter interactions.

[...]mishaps silenced much of the organ at the Atlantic City Convention Hall and stopped the recital series at New York University's Great Hall. The console was connected to the organ by a cable an inch-and-one-half thick and could be moved to the center of the stage for recitals, positioned so that the organist could see a conductor for concerts, and, when not in use, wheeled into an anteroom.3 The only documentation of Frank Roosevelt's No. 523 is a handwritten stoplist in the Organ Historical Society's Library and Archives. \"3 A concert organ of this nature should be unrestricted, have plenty of space and opening into the hall, and should be centrally located in the building at the rear of the stage, from which position its tones could be more evenly distributed, than poked into a hole in the corner as now existing, the audience nearest to it being overcome by the \"blast\" and those furthest away getting but a limited effect. In 1894, the Aeolian Company began attaching its 58note perforated roll player to pipe organs, and the next year saw the application of an Aeolian player mechanism to two existing Frank Roosevelt organs in New York City, the electric action of which was ideal for connecting a player mechanism: the first to the six-year-old No. 421 at St. James's R.C. Church, just rebuilt by Farrand & Votey as its No. 7918 (still extant, minus its player), and the second to the

After overcoming her father's objections (women of her social class did not pursue professional careers in music), she enrolled at the Conservatory in 1877 to study composition with Carl Reinecke. A gregarious and outgoing personality as well as a keen sportswoman, Smyth led an active social life to the noticeable detriment of her productivity. The result was that Smyth began a second career as an author during the war, publishing a series of memoirs and other nonfiction books that provide a valuable portrait of musical and cultural life in both Britain and on the continent during her lifetime. The most striking thing about it is the entire absence of the qualities that are usually associated with feminine productions; throughout it is virile, masterly in construction and workmanship, and particularly remarkable for the excellence and rich colour of the orchestration.· Theorist Donald Francis Tovey compared it favorably to Beethoven's Missa solemnas, calling it \"God-intoxicated music\" and a \"locus classicus\" in choral orchestration.· Structure and Highlights The Mass in Dis a substantial work, lasting just over an hour and calling for SATB soloists, large mixed chorus, and full orchestra.

The composer's hallmark characteristics of style are consistently heard throughout the collection: spare, transparent and percussive piano writing; avoidance of large or expansive leaps for the voice; and hyper-chromatic weaving melodic lines that rise and fall in both the piano and vocal lines. The final song, \"Playmates,\" almost rises to the level of a happier mood, but ultimately, the mood throughout all the songs remains in the realm of disquieted anxiety. The compact ranges, mostly linear melodic motion, and relative approachability and ease of the vocal writing make this collection an excellent choice for a singer who wishes to explore for the first time Juliana Hall's extensive catalogue of vocal works.