This is one of the finest examples of a cambiata voice I have come across in recent times. Inigo Byrne was a former cathedral chorister who left the choir at the time his voice was entering the early stages of change. His singing coach for this professional recording pitched the Mozart Ave Verum, not in its normal key of D major, but a fourth down in A major. This was not a deliberate attempt to be cambiata - but simply the correct pitch to get the best from the voice. This illustrates perfectly the principle that in cambiata singing, the song must fit the voice, not the voice the song. The second extract is the opening of the Enya song May it Be from Lord of the Rings. It's included because it captures the resonance of the cambiata tone that would be missing were the singer to be struggling to retain his treble voice. It was partly on the strength of this album, My World, (Belerion label) that we chose Inigo to feature in the Boys Keep Singing film Riding the Changes.

The Wulstan Atkins Memorial Lecture, Three Choirs Festival, Worcester 2011

This guide explains how to find out whether an individual piece of music is found within the complete works of a composer or within a thematic collected edition.

This guide explains how to find audio-visual resources in the Library. This includes CDs, DVDs, streamed music and film.

In her inaugural Professorial Lecture, Professor Cassidy explores the potential of Personal Music Technology as a powerful tool for wellbeing in everyday life and health-care contexts including dementia. The talk draws upon a growing body of evidence, including Professor Cassidy’s own research and insights through projects such as the Playlist for Life app for wellbeing in dementia, RockBand and musical identity, and the SingFit app for singing in healthy aging. Professor Cassidy argues that to maximise potential wellbeing benefits of Personal Music Technologies, we need to increase multidisciplinary dialogues and develop co-designed and evidence-based technologies. Such technologies, she argues, should also be evaluated for their impact in contemporary health-care contexts, and related to both existing and novel frameworks of care.

A web page describing how the music was composed, including a diagram of the labyrinth that forms its basis.

Electronic music based on an algorithm, but with a good deal of human influence. See other items with keywords 'sonic labyrinths' for details.

Electronic music based on an algorithm, but with a good deal of human influence. See other items with keywords 'sonic labyrinths' for details.

Three short clips in which two thirteen year old boys perform the treble duet from Greene's Lord, Let Me Know Mine End. The first is as it would have been heard at cathedral evensong. The second is the dry studio recording of the lower voice only (the "evensong" was virtual - the second voice was dubbed on and the two boys never met each other!). In this recording it is clear that the lower voice is in stage 3 of change. Although singing treble, the boy isn't really a treble any more. You can hear a clear passagio point on the E5 on the word "tell". This would be unlikely in an unchanged voice. The final clip is the folk song Waly Waly, which was recorded at the same time, but pitched down in the cambiata range. The boy (and his mother) was surprised by the resonance of the new voice that is sitting under the old treble here, but many English trebles never experience this, continuing in falsetto until they stop singing.