Group singing events have been associated with several outbreaks of infection during the coronavirus disease (COVID-19) pandemic (1). This link supports the possibility that aerosols are partly responsible for person-to-person infection. This study aims to analyze the impulse dispersion dynamics of aerosols in professional singers concerning the differences between singing a text, singing a vowel, or speaking at different levels of loudness.Some of the results of these studies have been previously reported in the form of a preprint (

For the clinical analysis of underlying mechanisms of voice disorders, we developed a numerical aeroacoustic larynx model, called simVoice, that mimics commonly observed functional laryngeal disorders as glottal insufficiency and vibrational left-right asymmetries. The model is a combination of the Finite Volume (FV) CFD solver Star-CCM+ and the Finite Element (FE) aeroacoustic solver CFS++. simVoice models turbulence using Large Eddy Simulations (LES) and the acoustic wave propagation with the perturbed convective wave equation (PCWE). Its geometry corresponds to a simplified larynx and a vocal tract model representing the vowel /a/. The oscillations of the vocal folds are externally driven. In total, 10 configurations with different degrees of functional-based disorders were simulated and analyzed. The energy transfer between the glottal airflow and the vocal folds decreases with an increasing glottal insufficiency and potentially reflects the higher effort during speech for patients being concerned. This loss of energy transfer may also have an essential influence on the quality of the sound signal as expressed by decreasing sound pressure level (SPL), Cepstral Peak Prominence (CPP), and Vocal Efficiency (VE). Asymmetry in the vocal fold oscillations also reduces the quality of the sound signal. However, simVoice confirmed previous clinical and experimental observations that a high level of glottal insufficiency worsens the acoustic signal quality more than oscillatory left-right asymmetry. Both symptoms in combination will further reduce the quality of the sound signal. In summary, simVoice allows for detailed analysis of the origins of disordered voice production and hence fosters the further understanding of laryngeal physiology, including occurring dependencies. A current walltime of 10 h/cycle is, with a prospective increase in computing power, auspicious for a future clinical use of simVoice.

Background In the CoVID-19 pandemic, singing came into focus as a high-risk activity for the infection with airborne viruses and was therefore forbidden by many governmental administrations. Objective The aim of this study is to investigate the effectiveness of surgical masks regarding the spatial and temporal dispersion of aerosol and droplets during professional singing. Methods Ten professional singers performed a passage of the Ludwig van Beethoven’s “Ode of Joy” in two experimental setups—each with and without surgical masks. First, they sang with previously inhaled vapor of e-cigarettes. The emitted cloud was recorded by three cameras to measure its dispersion dynamics. Secondly, the naturally expelled larger droplets were illuminated by a laser light sheet and recorded by a high-speed camera. Results The exhaled vapor aerosols were decelerated and deflected by the mask and stayed in the singer’s near-field around and above their heads. In contrast, without mask, the aerosols spread widely reaching distances up to 1.3 m. The larger droplets were reduced by up to 86% with a surgical mask worn. Significance The study shows that surgical masks display an effective tool to reduce the range of aerosol dispersion during singing. In combination with an appropriate aeration strategy for aerosol removal, choir singers could be positioned in a more compact assembly without contaminating neighboring singers all singers.

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Musical activities especially singing and playing wind instruments have been singled out as potentially high-risk activities for transmission of SARS CoV-2, because of a higher rate of aerosol production and emission. Playing wind instruments can produce condensation water, droplets of saliva, and aerosol particles, which hover and convectional spread in the environmental air and can be potentially infectious.The aim of this study is to investigate the primary impulse dispersion of aerosols during playing different wind instruments in comparison to breathing and speaking. Nine professional musicians (3 trumpeters, 3 cross flutists and 3 clarinetists) of the Bavarian Symphony Orchestra performed the main theme of Ludwig van Beethoven‘s 9th symphony, 4th movement in different pitches and loudness. Thereby, the inhaled air volume was marked with small aerosol particles produced with a commercial e-cigarette. The expelled aerosol cloud was recorded by cameras from different perspectives. Afterwards, the dimensions and dynamics of the aerosol cloud was measured by segmenting the video footage at every time point.Overall, the cross flutes produced the largest dispersion at the end of task of up to maximum distances of 1.88 m in front direction. Thereby it was observed an expulsion of aerosol in different directions: upwards and downwards at the mouthpiece, at the end of the instrument and along the cross flute at the key plane. In comparison, the maximum impulse dispersion generated by the trumpets and clarinets were lower in frontal and lateral direction (1.2 m and 1.0 m in front-direction). The expulsion to the sides was also lower. Consequently, a distance of 3 m to the front and to the sides of 2 m for the cross flutes in an orchestral formation is proposed, for trumpets and clarinets a safety distance of 2 m to the front and 1.5 m between instrumentalists are recommendable.

Group singing events have been linked to several outbreaks of infection during the CoVID-19 pandemic, leading to singing activities being banned in many areas across the globe. This link between singing and infection rates supports the possibility that aerosols are partly responsible for person-to-person infection. In contrast to droplets, the smaller aerosol particles do not fall to the ground within a short distance after being expelled by e.g. a singer. Aerosol particles hover and spread via convection in the environmental air. According to the super-spreading theory, choir singing and loud talking (theater and presentations) during rehearsals or performances may constitute a high risk of infectious virus transmission to large numbers of people. Thus, it is essential to define the safety distances between singers in super-spreading situations. The aim of this study is to investigate the impulse dispersion of aerosols during singing and speaking in comparison to breathing and coughing. Ten professional singers (5 males and 5 females) of the Bavarian Radio Chorus performed 9 tasks including singing a phrase of Beethovens 9th symphony, to the original German text. The inhaled air volume was marked with small aerosol particles produced via a commercial e-cigarette. The expelled aerosol cloud was recorded with three high definition TV cameras from different perspectives. Afterwards, the dimensions and dynamics of the aerosol cloud was measured by segmenting the video footage at every time point. While the median expansion was below 1m, the aerosol cloud was expelled up to 1.4m in the singing direction for individual subjects. Consonants produced larger distances of aerosol expulsion than vowels. The dispersion in the lateral and vertical dimension was less pronounced than the forward direction. After completion of each task, the cloud continued to distribute in the air increasing its dimensions. Consequently, we propose increasing the current recommendations of many governmental councils for choirs or singing at religious services from 1.5m to the front and 1m to the side to a distance between choir singers of 2m to the front and 1.5m to the sides.

Musical activities, especially singing and playing wind instruments, have been singled out as potentially high-risk activities for the transmission of SARS CoV-2, due to a higher rate of aerosol production and emission. Playing wind instruments can produce condensation, droplets of saliva, and aerosol particles, which hover and spread in the environmental air’s convectional flows and which can be potentially infectious. The aim of this study is to investigate the primary impulse dispersion of aerosols that takes place during the playing of different wind instruments as compared to breathing and to speaking. Nine professional musicians (3 trumpeters, 3 flautists and 3 clarinetists) from the Bavarian Symphony Orchestra performed the main theme from the 4th movement of Ludwig van Beethoven‘s 9th symphony in different pitches and loudness. The inhaled air volume was marked with small aerosol particles produced using a commercial e-cigarette. The expelled aerosol cloud was recorded by cameras from different perspectives. Afterwards, the dimensions and dynamics of the aerosol cloud were measured by segmenting the video footage at every time point. Overall, the flutes produced the largest dispersion at the end of the task, reaching maximum forward distances of 1.88 m. An expulsion of aerosol was observed in different directions: upwards and downwards at the mouthpiece, at the end of the instrument, and along the flute at the key plane. In comparison, the maximum impulse dispersions generated by the trumpets and clarinets were lower in frontal and lateral direction (1.2 m and 1.0 m towards the front, respectively). Also, the expulsion to the sides was lower.

Recently, we reported on the in vivo application of a miniaturized measuring device for 3D visualization of the superior vocal fold vibrations from high-speed recordings in combination with a laser projection unit (LPU). As a long-term vision for this proof of principle, we strive to integrate the further developed laserendoscopy as a diagnostic method in daily clinical routine. The new LPU mainly comprises a Nd:YAG laser source (532 nm/CW/2ω) and a diffractive optical element (DOE) generating a regular laser grid (31 × 31 laser points) that is projected on the vocal folds. By means of stereo triangulation, the 3D coordinates of the laser points are reconstructed from the endoscopic high-speed footage. The new design of the laserendoscope constitutes a compromise between robust image processing and laser safety regulations. The algorithms for calibration and analysis are now optimized with respect to their overall duration and the number of required interactions, which is objectively assessed using binary classifiers. The sensitivity and specificity of the calibration procedure are increased by 40.1% and 22.3%, which is statistically significant. The overall duration for the laser point detection is reduced by 41.9%. The suggested semi-automatic reconstruction software represents an important stepping-stone towards potential real time processing and a comprehensive, objective diagnostic tool of evidence-based medicine.