Dissertations / Theses: 'Vocal training'

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Behrens, Electa. "Vocal action: from training towards performance." Thesis, University of Kent, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.592675.

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This thesis describes and analyzes a practice as research study (2008 - 2011) which comprised performances, ongoing workshops and a symposium. Its focus is the (re)examination of voice training for the contemporary performer exploring what existing methods are sti11 relevant, what gaps exist in current training, and how these might be bridged. The methodology is that of a feedback loop in which theoretical research informs practical explorations (conducted by the researcher on herself) which inform practical applications (in which the research is applied with other performers in a pedagogical context). The inquiry is divided into two main topics: training for Vocal Presence and for Vocal Composition. In the first, the theoretical base is that of Konstantin Stanislavski's method of physical actions and its interpretations by Jerzy Grotowski and Ingemar Lindh, with a further link made to the work of positive psychologist Mihaly Czilcszentmihalyi. In the second, the starting points are the work of John Britton and Anne Bogart's Viewpoints. Within both areas, these theories and their related practices are explored through the creation of two perfonnance pieces: lhe sound of m/y/our name ... and One By One and then applied in the creation of a method of vocal (re)actions. This work was presented through a practice as research symposium and is documented on DVD and in an interactive website. This thesis argues for the importance of mapping the connections between different aesthetic and cultural methods for voice training. For the performer, it proposes a non-aesthetic-specific practical method and terminology, which can be used to work both within and across different vocal techniques as well as between body and voice. It thus aims to broaden the repertoire of approaches to voice work for vocal training and for devising performance.

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Pires-Fernandes, Catherine. ""The Girl in 14G:" Analyzing Solutions for Vocal Issues Through Vocal Pedagogy." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1636.

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The intent of this thesis is to study a variety of vocal techniques and identify how to solve different vocal challenges in the musical theatre song, "The Girl in 14G." In order to be successful in the entertainment business, it is imperative that a singer performs healthily and in a variety of music styles. Through an exploration of Lessac Kinesensic Training, Estill Voice Training Systems and Bel Canto techniques, a singer can gain a holistic perspective about voice. I will study with three voice teachers, each of whom specializes in one of the aforementioned techniques. This thesis will reveal how each voice teacher brought her expertise to the lesson. It is a singer’s responsibility to ensure she is well rounded and knowledgeable about her voice, and the different approaches to teaching voice. Solutions that reflect different techniques will be analyzed. Observations and discoveries made in private voice lessons will also be described. Documentation of lessons with each teacher will provide insight about the distinctions and similarities in vocal techniques. This thesis is intended to serve as a starting point for students and teachers to satisfy their own vocal curiosity and exploration.
B.F.A.
Bachelors
Theatre
Arts and Humanities

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Lim, Maureen Lim. "PEAK RELATIONAL TRAINING – DIRECT TRAINING MODULE: VOCAL IMITATION ACQUISITION BETWEEN DEVELOPMENTAL SOUNDS AND RANDOM." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1961.

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The purpose of this study was to teach 3 children vocal imitation and to compare dev words and random words. A multiple baseline design was implemented across three participants two with an expressive and receptive language delay and one with Autism where the participants were taught to vocally imitate several sounds using the PEAK Relational Training curriculum. The sounds were divided into 2 groups: first set composed of age appropriate sound in sequential order of suggested acquisition and the second set were random but age appropriate sounds. Trial blocks began with the child being asked to imitate a sound from their specific sound set. If the child correctly imitated the sound, child was given their chosen reinforcement (bubbles, surprise eggs or a book). After a trial block of 5 imitation requests, the child is given 5 minutes of free play where the child is able to pick an activity around their home. The results of the study show that children with a language disorders and Autism Spectrum Disorder increased the correct number of sound imitations during the PEAK Relational Training System – Direct Training module. Given both sets of sounds, the age appropriate sound sequence emerged first. Two participants showed an increasing trend at a high level during intervention. The third participant showed an increasing trend but at a low level.

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Borland, Denise. "The singer's psyche : a psychological approach to vocal performance training." Thesis, Edinburgh Napier University, 2011. http://researchrepository.napier.ac.uk/Output/4529.

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Buterbaugh, Walz Ivy. "Training the 21st Century Voice Teacher: An Overview and Curriculum Survey of the Undergraduate Experience." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1394725201.

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Weber, Kimberly Paige. "A Comparison of Vocal Training Alone and Vocal Plus Sign Language Training on the Acquisition of Tacts and Mands Made by Preschool Aged Children with Developmental Disabilities /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487929230739947.

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Siqueira, Larissa Thaís Donalonso. "Efetividade da estimulação elétrica nervosa transcutânea (TENS) na terapia vocal de mulheres disfônicas: ensaio clínico, controlado, randomizado e cego." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/25/25143/tde-16082016-104800/.

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Introdução: Para o tratamento das disfonias comportamentais associadas à tensão muscular são recomendadas técnicas de relaxamento cervical e laríngeo, concomitantemente à estimulação da onda de mucosa das pregas vocais, bem como adequação do fechamento glótico e suavização da emissão. Nesse sentido, o recurso da Estimulação Elétrica Nervosa Transcutânea (TENS), corrente elétrica aplicada por meio de eletrodos de superfície, tem sido utilizada no tratamento vocal de mulheres com nódulos vocais. Esta prática tem demonstrado bons resultados na qualidade vocal e na redução da dor muscular, porém, verifica-se escassez de comprovação científica dos seus efeitos somados à terapia vocal. Objetivo: verificar a efetividade da TENS de baixa frequência associada à terapia vocal no tratamento de voz em mulheres disfônicas. Método: Este estudo foi aprovado pelo Comitê de Ética em Pesquisa em Seres Humanos, número 556.273. Participaram 27 mulheres com nódulos vocais, de 18 a 45 anos de idade (média de 33 anos de idade), divididas, de forma randomizada, em: Grupo Experimental (GE) 13 mulheres que receberam 12 sessões de aplicação de TENS (pulso: 200 μs, frequência: 10 Hz, no limiar motor), com eletrodos posicionados no músculo trapézio - fibras descendentes e na região submandibular, bilateralmente, por 20 minutos, associada a 30 minutos de terapia vocal; e Grupo Controle (GC) 14 mulheres que receberam 12 sessões de aplicação de TENS placebo (mesmas condições do GE, incluindo posicionamento dos eletrodos, porém sem receber o estímulo em forma de corrente elétrica) por 20 minutos, associada a 30 minutos de terapia vocal. Todas foram submetidas à avaliação da qualidade vocal por meio das análises perceptivo-auditiva e acústica da voz; da laringe por meio de análise perceptivo-visual; autopercepção sobre a voz, qualidade de vida por meio do protocolo de Qualidade de Vida em Voz (QVV); queixas e sintomas vocais/laríngeos e dor musculoesquelética, antes, imediatamente após o tratamento e um mês após. Resultados: Observou-se, após análise estatística, que não houve modificação da qualidade vocal em ambos os grupos tratados. Verificou-se na análise acústica diminuição do parâmetro acústico Índice de Fonação Suave (SPI) imediatamente após tratamento e um mês após, em ambos os grupos. Em relação à laringe, observou-se melhora do tamanho da lesão nas pregas vocais apenas no GE, imediatamente após tratamento e um mês após.Não houve diferença significativa quanto à qualidade de vida em voz, em ambos os grupos. Houve melhora na autopercepção da voz em ambos os grupos, após o tratamento, assim como os sintomas vocais/laríngeos e de dor musculoesquelética se apresentaram em menor ocorrência após tratamento e um mês após. Conclusão: A TENS de baixa frequência associada à terapia vocal foi efetiva em relação à diminuição da lesão das pregas vocais em mulheres disfônicas. A associação da TENS com a terapia vocal produziu resultados semelhantes à terapia vocal, em relação à qualidade da voz, autopercepção e qualidade de vida em voz, sintomas vocais e dor musculoesquelética.
Introduction: For the treatment of the behavior dysphonia associated muscle tension are recommended techniques of cervical and laryngeal relaxation, concurrently with stimulation of the mucosa wave of the vocal folds, such as adequacy of glottal closure and smoothing the emission. Thereby, the use of Transcutaneous Electrical Nerve Stimulation (TENS), electrical current applied through surface electrodes, have been used in the vocal treatment of women with vocal nodules. This practice has shown good results in vocal quality and in reducing muscle pain, however, there are few scientific evidence about their effects added to voice therapy. Proposal: to verify the effectiveness of low frequency TENS associated with voice therapy on vocal quality and laryngeal dysphonic women. Methods: This study was approved by the Research Ethics Committee, number 556.273. Twenty seven women with vocal nodules participated, 18-45 years of age (mean 33 years), divided, randomly into: experimental group (EG) - 13 women who received 12 sessions of application TENS (pulse: 200 μs, frequency 10 Hz, motor threshold), with electrodes placed on the trapezius muscle descending fibers and submandibular area, bilaterally, for 20 minutes, associated with 30 minutes of vocal therapy; and Control Group (CG) - 14 women who received 12 sessions of application TENS placebo (same conditions as EG, including the placed of the electrodes, but without receiving the stimulus in the form of electrical current) for 20 minutes, associated with 30 minutes of vocal therapy. All were submitted to vocal quality through auditory perceptual and acoustic voice analyzes; ENT evaluation through visual perceptual analysis; vocal self-perception; voice-related quality of life through the Voice-Related Quality of Life Protocol (V-RQOL); complaints and vocal/laryngeal and musculoskeletal pain symptoms, before, immediately after treatment and one month after. Results: It was observed, after statistical analysis, that there was no change vocal quality in both treated groups. In the acoustic analysis, there was decrease of the Soft Phonation Index (SPI) parameter, immediately after treatment and one month after, in both groups. In relation to larynx, there was improvement in the size of the lesion on the vocal folds only GE, immediately after treatment and one month after. There was no significant difference in the voice related quality of life, in both groups. There was improvement in the vocal self-perception in both groups after treatment, as well as lower frequency of the voice/laryngeal and musculoskeletal pain symptoms present immediately after treatment and one month after. Conclusion: The low frequency TENS associated with vocal therapy was effective in the reduction of the size of the lesion on the vocal folds in dysphonic women. The association of the TENS with vocal therapy produced similar results to vocal therapy, in relation to vocal quality, self-perception and voice-related quality of life, vocal and musculoskeletal pain symptoms.

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Trasatti, Casey Kaye. "THE EFFECTS OF VERBAL OPERANT TRAINING AND RESPONSE INTERRUPTION AND REDIRECTION ON VOCAL STEREOTYPY." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2173.

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Verbal operant training is a typical intervention for individuals with Autism Spectrum Disorder. Response Interruption and Redirection (RIRD) is a highly effective intervention for problem behavior and various forms of stereotypy. In this study verbal operant training was combined with RIRD to see if there was a bigger impact in decreasing vocal stereotypy. The participant was a 9-year old male, and the intervention was done across settings. The results showed that combined with intraverbal training and RIRD, vocal stereotypy decreased significantly in all settings. The results also indicate this is a highly effective treatment for vocal stereotypy when the function is non-social automatic reinforcement (i.e. self-stimulation). Key words: Autism Spectrum Disorder, Intraverbal, Response Interruption and Redirection, RIRD, Verbal Operants, Vocal Stereotypy

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Aguilar, Gina Maria Monge. "Princípios para o treinamento vocal do ator: vozes que chamam, perguntam e dialogam." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-05072009-235136/.

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Esta pesquisa tem como objetivo formular, descrever e compreender princípios gerais para o treinamento vocal do ator. Para chegar a estes princípios, partiu-se de experiências, tanto na Costa Rica quanto atualmente no Brasil, do contato com o trabalho de Roy Hart, por meio de Richard Armstrong, e das pesquisas feitas com sete especialistas e professores de voz brasileiros. Após revisão bibliográfica sobre o tema, foram feitas entrevistas individuais com os sete pesquisadores escolhidos, participação em aulas e treinamentos, assim como assistência a espetáculos apresentados por eles. Finalmente, a realização de um processo de treinamento-encenação completou as ferramentas para a postulação dos princípios. Eles confluem em dois pontos fundamentais: voz é energia, que pode ser transformada, por meio do treino-criativo, em poética teatral.
This research aims to formulate, describe and understand the general principles for the actors vocal training. In order to reach such goals, I started up from my own experiences not only in Costa Rica but also in Brazil nowadays; from the contact I had with Roy Harts work, through Richard Armstrong and through the research done with seven Brazilian voice specialists and researchers. After a bibliographic review on the theme, several interviews have been done, as well as attendance to drama performances performed by them. Finally, the achieving of a training-creation process completed the tools to postulate such principles. They converge into two fundamental points; first, voice is energy; second, it can be transformed through creativetraining in theater poetry.

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Deinienė, Dalia. "Viktoro Jemeljanovo fonopedinio balso ugdymo metodo ypatumai ir pritaikymo galimybės vokaliniuose kolektyvuose." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060701_152055-64289.

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In pedagogy including music pedagogy,teaching methods are not less important than teaching content,therefore it is very important to thoughtfully choose teaching methods.It is often stated that vocal training is the mostly examined area of music teaching.However,the analysis of pedagogical,methodical literature ,communication with music,singing teachers proved that the teachers come across with the problem raised in this paper-the lack of methodical material on different voice training methods. The object of the study:the peculiarities of phonopedic voice training method by V.Jemeljanovas and its applicability in vocal groups.

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Brent, Timothy. "A Two-Semester Course Sequence for Jazz Ear-Training with Application for Vocal Improvisation." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/110.

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A series of interviews were conducted with Professor Armen Donelian (New School University), Professor Frank Carlberg (New England Conservatory of Music), Professor Gary Keller (University of Miami), Professor Thom Mason (University of Southern California), and Dr. Stephen Prosser (The Berklee College of Music). A comparison and analysis of existing texts whose focus was jazz aural-skill development, in combination with the information gathered from the interviews, as well as the author's personal teaching experience, served as the basis for the creation of a two-semester course sequence for jazz ear-training with application for vocal improvisation. The major content areas found to be most critical for inclusion in the sequence include: rhythm, harmony, improvisation, transcription, dictation, chord progressions, jazz articulation, the blues, guide tones, modified numeric system for chord tone identification, and sight-reading (sight-singing). It is the author's intention that this course sequence help to codify a system of jazz aural-skill development at the college-level that may be implemented in both existing jazz ear-training courses and programs where jazz ear-training courses do not currently exist.

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Pesantez, Rosana. "Comparing Prompt Delay and Total Communication for Training Vocal Intraverbals in Children with Autism." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4385.

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Abstract Verbal behavior encompasses a wide range of aspects in our everyday lives and in the activities of a society. Many verbal behavior interventions often include programs to teach answering questions, these responses are referred to as intraverbals. Previous research has demonstrated a higher rate of acquisition of verbal targets such as mands and tacts for children with a limited verbal repertoire when a presentation of both sign and vocal prompts occur simultaneously (Total Communication), in comparison to sign-alone or vocal-alone trainings. However, an important variable not often examined in the literature is the comparison of Total Communication (TC) and Prompt Delay (PD) to further evaluate which leads to higher rates of acquisition. The current study extends previous research by evaluating the relative effectiveness of TC and PD in teaching intraverbal skills to three children who have been diagnosed with autism. During the TC condition the participants were required to emit a vocal and sign response simultaneously during training. During the PD condition, participants were required to emit only a vocal response during training. The results suggest that there was no clinically relevant difference between the two conditions in the acquisition of intraverbals for these participants.

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Godoy, Juliana Fernandes. "Efetividade do programa terapia vocal para idosos nas formas convencional e intensiva." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/25/25143/tde-08082016-182646/.

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A terapia vocal é a opção inicial de tratamento em casos de alterações vocais decorrentes do envelhecimento. Existem poucas propostas de intervenção específicas para esta situação e as análises dos seus efeitos são limitadas. O tratamento ocorre tradicionalmente na frequência de uma ou duas vezes semanais, no entanto algumas propostas sugerem uma abordagem intensiva, não havendo clareza quanto à melhor forma de aplicação. Sendo assim, este estudo tem o objetivo de verificar os efeitos de um programa de Terapia Vocal para idosos (TVI) e se há diferenças entre a administração do tratamento no formato intensivo e convencional. Foram encaminhados para terapia vocal 27 idosos randomizados em dois grupos, sendo que o Grupo Intensivo (GI) realizou 16 sessões quatro vezes por semana e o Grupo Convencional (GC), 16 sessões duas vezes semanais. Para a comparação dos efeitos da terapia foram avaliados os aspectos de qualidade de vida por meio do protocolo Qualidade de Vida em Voz (QVV), qualidade vocal por meio da avaliação perceptivoauditiva e laríngeos por meio da análise perceptivo-visual dos exames. O profissional que aplicou o tratamento foi cego quanto aos procedimentos de avaliação, realizados na semana anterior ao início dos atendimentos, na semana seguinte ao término do mesmo e um mês após. O programa TVI envolveu exercícios de diversas técnicas com potencial para melhorar os aspectos vocais impactados pelo envelhecimento Finalizaram o tratamento 25 idosos, 13 do GI e 12 do GC. Os resultados evidenciaram melhora quanto a qualidade de vida relacionada a voz e em relação à qualidade vocal, mas não nos aspectos laríngeos. Após um mês foi mantida a melhora no QVV e na qualidade de voz, soprosidade e instabilidade durante emissões sustentadas e qualidade vocal e rugosidade na fala. Não foram observadas diferenças entre a terapia intensiva e convencional à exceção do arqueamento de pregas vocais que diminuiu em 38,46% dos participantes do GI e em nenhum do GC. A conclusão do estudo é de que o programa TVI traz benefício na qualidade de vida relacionada a voz e na qualidade vocal de idosos, de maneira que a melhora é observada imediatamente e um mês após o tratamento. Além disso, a terapia no formato intensivo traz benefícios semelhantes à terapia convencional, porém o modelo intensivo pode trazer mais benefícios em relação ao arqueamento de pregas vocais. Os aspectos individuais de cada paciente devem ser considerados no momento da escolha da frequência do tratamento.
The voice therapy is the initial treatment option in cases of vocal changes due to aging. There are few specifics intervention proposals for these cases and the assessments of its effects are limited. The treatment traditionally occurs at the frequency of once or twice a week, however some methods suggests an intensive approach, there is no clarity as to the best way for applying. Therefore, this study aims to verify the effects of the method Vocal Therapy for Elderlies (VTE) and whether there are differences between the treatment administration in the intensive and conventional format. Underwent the vocal therapy 27 elderly randomized into two groups, whereas the Intensive Group (IG) accomplished 16 sessions four times a week and the Conventional Group (CG) 16 sessions twice a week. For the comparison of the effects of therapy were evaluated aspects of quality of life through the voice-related quality of life (V-RQOL) protocol, vocal quality through the auditory perceptual and laryngeal through the visual perceptive analysis of the exams. The professional who administered the treatment was blind as to the assessment procedures, accomplished in the week before the beginning of the sessions in the week following the end of it and one month after. The VTE method involved exercises of various techniques with potential to improve the vocal aspects impacted by aging. Finished the treatment 25 elderly, 13 in IG and 12 of CG. The results showed improvement as the voice related quality of life and in relation to perceptual vocal quality, but not in the laryngeal aspects. After a month was maintained improvement in V-RQOL and general vocal quality, breathiness and instability during sustained vocal emissions and general vocal quality and roughness in speech. No differences were found between the intensive therapy and conventional except the vocal fold bowing that decreased in 38.46% of participants of the IG and in none of the CG. The conclusion of the study is that the VTE method brings the benefit of voice related quality of life and vocal quality, so that the improvement is observed immediately and a month after the treatment. In addition, the therapy in intensive format provides similar benefits to conventional therapy, but the intensive approach can bring more benefits in relation to the vocal fold bowing. The individual aspects of each patient must be considered at the choice moment of the frequency of the treatment.

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Shea, Kerry A. "Evaluation of a Computer-Based Observer-Effect Training on Mothers' Vocal Imitation of Their Infant." DigitalCommons@USU, 2019. https://digitalcommons.usu.edu/etd/7694.

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Infants begin to learn important skills, such as contingency learning, social referencing, and joint attention through everyday interactions with their environment. When infants learn that their behavior produces a change in the environment (e.g., attention from others), infants engage in behavior that produces that effect (e.g., increases in smiling sustained engagement. When mothers and other caregivers respond immediately to infant behavior, they help their infant learn that the infant’s own behavior is effective, producing a change in the environment. The current investigation evaluated the effect of a computer-based training that aimed at teaching mothers to play a vocal-imitation contingency-learning game. The training included observer-effect methodology, meaning the mothers engaged in observation and evaluation of other mothers engaging in vocal imitation but did not themselves receive any direct coaching or feedback. All mothers completed the training during one session and in less than 45 min. Results indicate that all mothers increased their use of vocal imitation post training and maintained their performance at a two-week follow-up. Results are discussed in terms of how computer training may facilitate dissemination of responsive caregiver training.

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Ribeiro, Vanessa Veis. "Efeito da terapia vocal associada ao biofeedback eletromiográfico em mulheres com disfonia comportamental: ensaio clínico randomizado, controlado e cego." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/25/25143/tde-09052018-212116/.

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Introdução: as disfonias podem acometer o nível respiratório, glótico e ressonantal/articulatório, limitar a eficiência da comunicação e gerar prejuízos na qualidade de vida. Quando a etiologia da disfonia está relacionada ao uso vocal incorreto, elas são classificadas como comportamentais. Apesar da literatura mostrar a efetividade de alguns métodos e programas de reabilitação vocal, poucos exploram a autopercepção corporal e a participação da musculatura corporal no quadro da disfonia. A fim de melhorar essas questões, a literatura propôs o biofeedback eletromiográfico. Estudos que analisaram esse método são antigos e apresentam heterogeneidade metodológica, o que dificulta sua reprodução. Dessa forma, é necessário analisar o efeito do método por meio de um ensaio clínico para se obter evidências científicas sobre a intervenção para respaldar a prática clínica baseada em evidências. Objetivo: analisar a efetividade e a duração dos efeitos da terapia vocal associada ao biofeedback eletromiográfico em mulheres com disfonia comportamental. Delineamento do estudo: ensaio clínico, randomizado, controlado e cego. Método: participaram do estudo 22 mulheres (idades entre 18 e 45 anos) com diagnóstico de disfonia comportamental, alocadas de forma randomizada em dois grupos: Grupo Experimental (GE) 11 mulheres que realizaram terapia vocal associada a aplicação do biofeedback eletromiográfico nos músculos esternocleidomastoideo e supra-hioideos; Grupo Placebo (GP) 11 mulheres que realizaram terapia vocal associada a aplicação do biofeedback eletromiográfico placebo. Ambos os grupos realizaram 8 sessões de terapia, duas vezes por semana, com duração de 30 minutos. A terapia vocal de ambos os grupos foi composta por exercícios de trato vocal semiocluído (vibração, humming e fricativo). As avaliações foram realizadas em três momentos: antes, imediatamente após, depois de um e três meses da intervenção fonoaudiológica, e constaram de: avaliação vocal (perceptivo-auditiva e acústica), avaliação eletromiográfica de superfície, autoavaliação vocal, de sintomas vocais e laríngeos, da dor musculoesquelética e da qualidade de vida em voz. Os dados foram analisados estatisticamente, comparando-se os grupos e os momentos de avaliação (p0,05). Resultados: A terapia vocal proposta promoveu resultados positivos na qualidade vocal, nos sintomas vocais, na qualidade de vida relacionada à voz e na atividade elétrica muscular durante o repouso em mulheres com disfonia comportamental, com ênfase nos aspectos fonatórios e comportamento vocal em nível glótico. Já o biofeedback eletromiográfico promoveu resultados positivos na atividade elétrica muscular durante as tarefas fonatórias e na dor musculoesquelética em mulheres com disfonia comportamental, com base nos aspectos comportamentais e musculares da região extrínseca da laringe, cintura escapular e cervical. Conclusão: Conclui-se que a terapia vocal associada ao biofeedback eletromiográfico tem efetividade equivalente e efeitos que se mantém pelo mesmo tempo na laringe, na voz e na autopercepção de sintomas e da qualidade de vida em voz, e é mais efetiva e tem efeitos que se mantêm por mais tempo na atividade elétrica muscular e na autopercepção da dor musculoesquelética de mulheres com disfonia comportamental do que a terapia vocal realizada de forma tradicional.
Introduction: dysphonia can affect the respiratory, glottic and ressonantal/articulatory levels, this limits the efficiency of communication and can cause quality of life damages. When the etiology of dysphonia is related to incorrect vocal use, it is classified as behavioral. Although the literature shows the effectiveness of several methods and programs of vocal rehabilitation, few investigate the self-perception and the participation of the body musculature in the dysphonia. In order to improve these issues, the literature proposed the electromyographic biofeedback. The studies that analyzed this method are remote and have methodological heterogeneity which makes it difficult to reproduce. Thus, it is necessary to analyze the effect of the method through a clinical trial to obtain scientific evidence on the intervention to support evidence-based clinical practice. Purpose: to analyze the effectiveness and duration of the effects of vocal therapy associated with electromyographic biofeedback in women with behavioral dysphonia. Study design: randomized controlled blinded clinical trial. Methods: Twenty-two women (18 to 45 years) with a diagnosis of behavioral dysphonia were randomly divided into two groups: Experimental Group (EG) - 11 women participated in vocal therapy associated with the application of electromyographic biofeedback of the sternocleidomastoid and supra-hyoids muscles; Placebo Group (GP) - 11 women participated in vocal therapy associated with the application of placebo electromyographic biofeedback. Both groups performed eight therapy sessions, twice a week, lasting 30 minutes. The vocal therapy of both groups was composed of semioccluded vocal tract exercises (trill, humming and fricative sounds). The evaluations were performed at four time points: before, after, one and three months after the vocal therapy and will consist of the assessments: vocal (auditory-perceptual and acoustic evaluation), surface electromyographic, vocal self-assessment, vocal and laryngeal symptoms, musculoskeletal pain and quality of life in voice. The data were analyzed statistically comparing the groups and the time of evaluation (p0.05). Results: The proposed vocal therapy promoted positive results in vocal quality, laryngeal and vocal symptoms, voice-related quality of life and muscular electrical activity during rest in women with behavioral dysphonia for both groups. Electromyographic biofeedback promoted additional positive results in muscle electrical activity during phonatory tasks and musculoskeletal pain in women with behavioral dysphonia. These results are based on the behavioral and muscular aspects of the extrinsic region of the larynx, scapular and cervical muscles. Conclusion: in this study, the vocal therapy associated with electromyographic biofeedback had equivalent efficacy to traditional therapy in the larynx, voice and self-assessment of symptoms and quality of life. The biofeedback was more effective than traditional therapy on muscular electrical activity and self-perception of musculoskeletal pain and had effects that remained for a longer time in women with behavioral dysphonia.

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Fraga, Cassiano Weigert [UNESP]. "Um estudo sobre o desenvolvimento vocal de atores e atrizes: a voz mista." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154307.

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O objetivo do presente estudo está em verificar de que maneira o treinamento da voz mista favoreceria o trabalho vocal dos participantes. Para tanto, um grupo de atores e atrizes foi submetido a um treinamento vocal do método por um período de três meses. A metodologia do trabalho, de caráter qualitativo, estruturou-se por meio de análise de conteúdo sobre entrevistas semi-estruturadas realizadas com a amostra após o treinamento, e observação auditiva sobre as gravações das aulas realizadas. Os parâmetros analisados foram consciência vocal e apropriação técnica. Ambos foram elaborados no decorrer desta pesquisa, e subdivididos em quatro níveis cada. Todos os participantes foram classificados quanto aos parâmetros observados. Os resultados encontrados apontam que, mesmo com um cronograma de treinamento reduzido, todos os participantes obtiveram resultados positivos e satisfatórios após o período de treinamento. Podemos concluir que todos os artistas ampliaram a suas percepções sensoriais e corporais quanto ao uso da voz, percebendo melhor seus instrumentos, e como melhor utilizá-los. O treinamento trouxe uma abertura ao espectro de autoconhecimento desses artistas ampliando seus repertórios pessoais, podendo, a partir de então, reverberar em suas criações artísticas.
The purpose of the present study is to verify how the training of the mixed voice would favor the vocal work of the participants. For that, a group of actors and actresses underwent a vocal trainin g of the method for a period of three months. The qualitative methodology of the work was structured by content analysis on semi - structured interviews conducted with the sample after the training, and auditory observation on the recordings of the classes performed. The parameters analyzed were v ocal awareness and technical appropriation. Both were elaborated in the course of this research, and subdivided into four levels each. All participants were classified according to the observed parameters. The resul ts show that, even with a reduced training schedule, all the participants obtained positive and satisfactory results after the training period . We can conclude that all artists have broadened their sensory and bodily perceptions regarding the use of voice, better perceiving their instruments, and how they can use them better. The training brought an opening to the spectrum of self - knowledge of these artists expanding their personal repertoires, and from then on, reverberate in their artistic creations.

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Weber, Bryce Matthew. "Training the communicative recitalist: exercises inspired by Sanford Meisner's repetition exercise." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3550.

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Original exercises based on the work of Sanford Meisner (as well as Viola Spolin, Jeffrey Agrell and others) are presented in a hypothetical voice studio to address truthfulness, point of view, and "reality of doing" on the vocal recital stage. The exercises present a way of addressing work on the "self" before work on the "role."

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Dunbar-Wells, Roslyn. "The relevance of metaphor in voice teaching : a comparative study of sinus tone production and vocal cord theories." Thesis, University of Reading, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388398.

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Xavier, Carla Marques de Sousa. "Influência da hidratação sistêmica na voz de coristas sem e com o aquecimento vocal." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/25/25143/tde-23042014-103409/.

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Introdução: a água é componente vital para o desempenho das funções corporais e fundamental para a produção vocal. Sabe-se ainda que exercícios de aquecimento vocal preparam a voz para o canto. O propósito deste estudo foi investigar a influência da hidratação sistêmica na voz de coristas sem e com aquecimento vocal. Material e métodos: esta pesquisa teve a aprovação do CEP-FOB/USP, protocolo: 085/2011. Participaram 16 coristas, com média de idade de 49,38 anos, DP 14,74, sendo 12 do sexo feminino (75%) e quatro do sexo masculino (25%). Todos os coristas eram integrantes de coros há no mínimo um ano, saudáveis, sem queixas vocais e auditivas nos dias das avaliações e sem histórico de cirurgias laríngeas. Procedimentos: os participantes tiveram suas vozes avaliadas em dois dias não consecutivos, o primeiro na condição desidratado (D) e o segundo na condição hidratado (H). Em ambos os dias tiveram suas vozes gravadas antes (D1 e H1) e após a realização do aquecimento vocal (D2 e H2). Para a condição desidratado os coristas ficaram sem ingerir água durante as 12 horas que antecederam a primeira avaliação. Para a condição de hidratado houve a ingestão fracionada de três litros de água para os homens e dois litros para as mulheres no dia anterior ao dia da segunda avaliação. As condições hidratado e desidratado foram avaliadas por meio da coloração e gravidade específica da urina. Foi realizada a avaliação acústica dos parâmetros F0, jitter, shimmer e NHR, por meio do Multi Dimensional Voice Program (MDVP). A análise perceptivo-auditiva considerou o grau geral, a rugosidade, a soprosidade, a tensão, o pitch e o loudness da vogal /a/ sustentada por meio da escala visual analógica (EVA). As vozes foram analisadas pela fonoaudióloga que apresentou melhor análise intra-juiz (p=0,000 e r=0,77). Resultados: houve forte correlação entre os métodos da coloração e a gravidade específica da urina (r=0,807 e p<0,05). Na avaliação acústica houve redução da F0 e melhora do shimmer e na avaliação perceptivo-auditiva foi identificada melhora dos parâmetros da rugosidade, soprosidade, tensão e redução do pitch, nas vozes hidratadas sem aquecimento vocal. Nas vozes com aquecimento vocal a avaliação acústica revelou estabilidade da F0 e melhora do shimmer e na perceptivo-auditiva redução da rugosidade e do pitch. Conclusão: a hidratação sistêmica agiu positivamente na voz sem aquecimento vocal revelando na avaliação acústica redução da F0 e melhora do shimmer e na avaliação perceptivo-auditiva melhora dos parâmetros da rugosidade, soprosidade, tensão e redução do pitch. A hidratação sistêmica agiu positivamente na voz com aquecimento vocal revelando na avaliação acústica estabilidade da F0 e melhora do shimmer e na perceptivo-auditiva redução da rugosidade e do pitch.
Introduction: Water is a vital component for bodily functions and is fundamental for voice production. It is known that vocal warming exercises prepare the voice for singing. The purpose of this study was to investigate the influence of systemic hydration on choristers voices whilst warmed and unwarmed. Material and Methods: This research had the approval from CEP-FOB/USP protocol 085 2011. 16 choristers took part on the research, whose average age is 49.38 years (standard deviation 14,74), being 12 female (75%) and 4 male (25%). All choristers are healthy, do not present complaint on vocal or hearing issues during test days and do not possess history of laryngeal surgery. Procedure: the participants had their voices evaluated in two non-consecutive days, with hydrated voice (H) on the first day and with dehydrated voice (D) on the second. In both days, their voices were recorded before vocal warming (D1 and H1) and after vocal warming (D2 and H2.) For the dehydration condition, the choristers drank no water during the 12 preceding hours relative to the first test. For the hydration condition, fractioned water intake(3 liters for men and 2 liters for women) was held on the day before the second test. Hydrated and dehydrated conditions were determined by means of urine coloration and specific gravity. The acoustic evaluation was performed focusing in parameters F0, jitter, shimmer and NHR using the multidimensional voice program. The perceptual-auditory analysis considered the overall degree, rugosity, breathiness, tension, pitch and loudness of the sustained vowel a by visual analog scale. The voices were analyzed by the speech therapist who presented best intra-judge analysis (P = 0.000, R = 0.77). Results: The urine coloration and specific gravity have held strong correlation, with R = 0.807 and P < 0.05. On the acoustic evaluation, there has been reduction of F0 and shimmer improvement; and in the perceptive-auditory evaluation it was identified improvement on rugosity, breathiness, tension and reduction of pitch on hydrated unwarmed voices. On warmed voices, the acoustic evaluation revealed stability on F0 and improvement on shimmer; on the perceptive-auditory evaluation, rugosity and pitch have reduced. Conclusion: The systemic hydration acted positively on unwarmed voice revealing F0 reduction and shimmer improvement on the acoustic evaluation; and improvement on rugosity, breathiness, tension and pitch on the perceptive-auditory evaluation. Also, systemic hydration acted positively on the warmed voice, revealing F0 stability and shimmer improvement on the acoustic evaluation; and rugosity and pitch reduction on the perceptive-auditory evaluation.

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Oliveira, Andréa Gomes de. ""A efetividade de um programa de treinamento vocal para operadores de telemarketing"." Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/5/5137/tde-01092005-152730/.

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O objetivo deste estudo foi avaliar, de forma comparativa e multidimensional, a efetividade de um programa de treinamento vocal baseado em exercícios. Um total de 48 operadores, selecionados randomicamente, foram alocados em um grupo intervenção (N=14), que participou do treinamento durante oito semanas e um grupo controle (N=34). De acordo com as comparações pré e pós-treinamento, o grupo intervenção apresentou redução estatisticamente significante na medida de jitter (p=0,044). Não houve mudança significante no diagrama do desvio fonatório e na avaliação perceptivo-auditiva da qualidade vocal. Os resultados sugerem que o programa de treinamento produz uma melhora na dimensão acústica mas não chega a produzir mudanças na dimensão perceptivo-auditiva das vozes de operadores
The purpose of this study was to evaluate by a multidimendional and comparative way, the effectiveness of a voice training program based in vocal function exercises. Forty-eight telemarketers were randomly assigned to two groups: voice training group (n=14), that underwent training over a 8-week period and a non-trainining control group (n=34). Based on pre- and post-training comparisons, voice training group presented reduction on measures of percent jitter (p=0.044). There was no significant difference on graphics of the hoarseness diagram and on perceptual analysis. These findings suggest that the voice training improve acoustic dimension but do not change perceptual dimension of telemarketers`voices

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Mitchell, Helen Frances. "Defining vocal quality in female classical singers: pedagogical, acoustical and perceptual studies." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/710.

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The technique of 'open throat' is a pedagogical concept transmitted through the oral tradition of singing. This thesis explored the pedagogical perceptions and practices of 'open throat' using empirical methodologies to assess technical skill and associated vocal quality. In the first study (Mitchell, Kenny, Ryan, & Davis, 2003), we assessed the degree of consensus amongst singing pedagogues regarding the definition of, and use in the singing studio of the technique called 'open throat.' Results indicated that all fifteen pedagogues described 'open throat' technique as fundamental to singing training and were positive about the sound quality it achieved, especially in classical singing. It was described as a way of maximising pharyngeal space or abducting the false vocal folds. Hypotheses generated from pedagogical beliefs expressed in this first study were then tested acoustically (Mitchell & Kenny, 2004a, 2004b). Six advanced singing students sang in two conditions: 'optimal' (O), using maximal open throat, 'sub-optimal' (SO), using reduced open throat and loud sub-optimal (LSO) to control for the effect of loudness. From these recordings, acoustic characteristics of vibrato (Mitchell & Kenny, 2004b) and energy distribution (Mitchell & Kenny, 2004a) were examined. Subsequent investigations of the vibrato parameters of rate, extent and onset, revealed that extent was significantly reduced and onset increased when singers did not use the technique. As inconsistent vibrato is considered indicative of poor singing, it was hypothesized that testing the energy distribution in these singers' voices in each condition would identify the timbral changes associated with open throat. Visual inspection of long term average spectra (LTAS) confirmed differences between O and SO, but conventional measures applied to long term average spectra (LTAS), comparing energy peak height [singing power ratio (SPR)] and peak area [energy ratio (ER)] were not sensitive to the changes identified through visual inspection of the LTAS. These results were not consistent with the vibrato findings and suggest that conventional measures of SPR and ER are not sufficiently sensitive to evaluate LTAS. In the fourth study, fifteen expert listeners consistently and reliably identified the presence of open throat technique with 87% accuracy (Mitchell & Kenny, in press). In the fifth study, LTAS measurements were examined with respect to the perceptual ratings of singers. There was no relationship between perceptual rankings of vocal beauty and acoustic rankings of vocal quality (Kenny & Mitchell, 2004, in press). There is a vast literature of spectral energy definitions of good voice but the studies in this thesis have indicated that current acoustic methods are limited in defining vocal quality. They also suggest that current work in singing has not sufficiently incorporated perceptual ratings and descriptions of sound quality or the relationship between acoustic and perceptual factors with pedagogical practices.

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22

Mitchell, Helen Frances. "Defining vocal quality in female classical singers: pedagogical, acoustical and perceptual studies." University of Sydney. Australian Centre for Applied Research in Music Performance, 2005. http://hdl.handle.net/2123/710.

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The technique of �open throat� is a pedagogical concept transmitted through the oral tradition of singing. This thesis explored the pedagogical perceptions and practices of �open throat� using empirical methodologies to assess technical skill and associated vocal quality. In the first study (Mitchell, Kenny, Ryan, & Davis, 2003), we assessed the degree of consensus amongst singing pedagogues regarding the definition of, and use in the singing studio of the technique called �open throat.� Results indicated that all fifteen pedagogues described �open throat� technique as fundamental to singing training and were positive about the sound quality it achieved, especially in classical singing. It was described as a way of maximising pharyngeal space or abducting the false vocal folds. Hypotheses generated from pedagogical beliefs expressed in this first study were then tested acoustically (Mitchell & Kenny, 2004a, 2004b). Six advanced singing students sang in two conditions: �optimal� (O), using maximal open throat, �sub-optimal� (SO), using reduced open throat and loud sub-optimal (LSO) to control for the effect of loudness. From these recordings, acoustic characteristics of vibrato (Mitchell & Kenny, 2004b) and energy distribution (Mitchell & Kenny, 2004a) were examined. Subsequent investigations of the vibrato parameters of rate, extent and onset, revealed that extent was significantly reduced and onset increased when singers did not use the technique. As inconsistent vibrato is considered indicative of poor singing, it was hypothesized that testing the energy distribution in these singers� voices in each condition would identify the timbral changes associated with open throat. Visual inspection of long term average spectra (LTAS) confirmed differences between O and SO, but conventional measures applied to long term average spectra (LTAS), comparing energy peak height [singing power ratio (SPR)] and peak area [energy ratio (ER)] were not sensitive to the changes identified through visual inspection of the LTAS. These results were not consistent with the vibrato findings and suggest that conventional measures of SPR and ER are not sufficiently sensitive to evaluate LTAS. In the fourth study, fifteen expert listeners consistently and reliably identified the presence of open throat technique with 87% accuracy (Mitchell & Kenny, in press). In the fifth study, LTAS measurements were examined with respect to the perceptual ratings of singers. There was no relationship between perceptual rankings of vocal beauty and acoustic rankings of vocal quality (Kenny & Mitchell, 2004, in press). There is a vast literature of spectral energy definitions of good voice but the studies in this thesis have indicated that current acoustic methods are limited in defining vocal quality. They also suggest that current work in singing has not sufficiently incorporated perceptual ratings and descriptions of sound quality or the relationship between acoustic and perceptual factors with pedagogical practices.

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23

Van, Vuuren Cora-Mari. "Exploring the diagnosis and correction of vocal faults encountered during the training of the classical singing voice." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65618.

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The aim of this study is to provide a framework to diagnose and correct vocal faults encountered in the training of the classical singing voice with regard to the foundational aspects of classical vocal technique. The study follows a qualitative research approach to investigate and interpret authoritative literature sources. The research problem of this dissertation is approached by means of a narrative literature review and is conducted within an interpretive paradigm. The investigation of the diagnosis and correction of vocal faults revealed that: Firstly, the foundational aspects of classical vocal technique include dynamic body alignment, breath management, phonation, resonation, articulation, registration and vibrato. Secondly, vocal faults are directly linked, or can be traced directly to the interdependent foundational aspects of classical vocal technique. Thirdly, vocal faults occur when sound is produced in such a way that it can cause temporary or permanent damage to the voice and occur when the foundational aspects involved in the act of singing are employed incorrectly. It is recommended that voice teachers assist singing students to understand the foundational aspects of the complex and intricate processes underlying the classical vocal technique to produce healthy vocal sound. Also, exercises that are employed to assist in the correction of vocal faults must focus on creating a healthy balance within the processes of the foundational aspects of classical vocal technique to prevent hyper- or hypo-functionality.
Dissertation (MMus)--University of Pretoria, 2017.
Music
MMus
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Stanley, David Thomas. "A Countertenor Aria Collection Continuum for Studio Training and Performance." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248503/.

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An assessment of the standard voice instructor or performer collection of printed music would likely reveal numerous operatic repertoire volumes in anthology format appropriated to the primary four voice categories. However, thorough investigation divulges little in comparable printed material accessible to the countertenor. This scarcity of systemized collections is especially evident in the territory of comprehensive countertenor operatic repertoire. This project fills that present void by creating a compilation of sixteen countertenor arias drawn from various styles and historical periods for suggested application in studio instruction and performance. Perhaps, a more meaningful project intent is the presentation of a beneficial graded literature continuum resource for the studio teacher who instructs a countertenor in various stages of vocal development. For this purpose, each of the 16 arias is categorized into four difficulty levels based on considerations of range, tessitura, coloratura demands, rhythm, sustained phrase length, tonality, melodic considerations/overall musical difficulty, accompaniment support, and ornamentation requirements. The project also addresses common issues of pedagogy and ornamentation for voice teacher consideration when instructing a developing countertenor.

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Silva, Daniel Pestana da. "Proposta de periodização do treinamento vocal com técnica de vibração sonorizada de língua." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/25/25143/tde-08082016-083746/.

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O treinamento físico é um processo repetitivo e sistemático composto de exercícios físicos progressivos que tem por objetivo aperfeiçoar o desempenho. Um dos princípios da fisiologia do exercício é a sobrecarga que se baseia em desenvolver o treinamento com treinos intervalados, aumento de intensidade e de volume. O objetivo deste estudo foi avaliar o efeito da Proposta de Periodização do Treinamento Vocal (PPTV) com técnica de vibração sonorizada de língua na qualidade vocal de mulheres sem queixas vocais e com vozes saudáveis. Estudo prospectivo, controlado e randomizado, desenvolvido após aprovação do Comitê de Ética em Pesquisa com Seres Humanos da FOB/USP (parecer 1.198.625). Participaram do estudo 30 mulheres entre 18 e 39 anos, vocalmente saudáveis (evidenciadas por protocolo de sintomas vocais/laríngeos, avaliação vocal e laringológica inicial), divididas em dois grupos de forma randomizada: grupo experimental (GE) com 15 mulheres que receberam seis sessões da PPTV; grupo controle (GC) com 15 mulheres que receberam seis sessões de treinamento vocal tradicional. Após assinatura do termo de consentimento livre e esclarecido, as voluntárias passaram pelas avaliações antes e após treinamento e, após 30 dias do treinamento. As avaliações realizadas foram: investigação das sensações na voz, laringe, respiração e articulação (sessão a sessão); mensuração da intensidade vocal habitual; mensuração das medidas fonatórias; gravação vocal para posterior análise perceptivo-auditiva e acústica da voz. Para ambos os grupos o treinamento consistiu de 12 minutos de execução da técnica de vibração sonorizada de língua (TVSL), em pitch habitual. O treinamento vocal do GE (PPTV) considerou o princípio da sobrecarga, com administração da intensidade vocal e com intervalos controlados de execução da TVSL (30 segundos) e repouso (30 segundos). As voluntárias do GC executaram a TVSL de forma tradicional, com período de descanso a cada três minutos, mas sem controle do tempo de repouso. Os testes estatísticos (nível de significância de 0,05) revelaram que as sensações após o treino, controladas sessão a sessão, foram positivas para ambos os grupos (Teste de Sinais). As sensações positivas na voz e na articulação foram as mais relatadas por ambos os grupos. O teste ANOVA, seguido de Tukey revelou que o GE apresentou aumento significante da intensidade vocal habitual após a PPTV e 30 dias após na emissão da vogal /a/, o que não ocorreu com o GC; não houve diferença significante nas medidas fonatórias após o treino vocal em ambos os grupos. A análise perceptivo-auditiva (teste de Sinais) revelou que o parâmetro de instabilidade melhorou significantemente no GE após a PPTV e 30 dias após, o que não ocorreu com o GC. Por outro lado, o GC apresentou piora significante 30 dias após o treinamento vocal tradicional do parâmetro tensão. Por meio do teste ANOVA e Tukey, a análise acústica revelou melhora significante nos valores de jitter e variação da frequência (Vf0) no GE, 30 dias após, o que não ocorreu com o GC. Entretanto, o GC apresentou melhora significante do índice de fonação suave após o treino vocal tradicional, mas que não se sustentou 30 dias após. Este estudo permitiu concluir que a PPTV, com uso da TVSL foi capaz de produzir efeitos na qualidade vocal, com melhora da instabilidade vocal, intensidade vocal habitual e medidas acústicas (Vf0 e jitter) quando comparados ao treinamento vocal tradicional, em mulheres vocalmente saudáveis. O treinamento vocal proposto não influenciou negativamente nos relatos de sensações na voz, laringe, respiração e articulação. Conclui-se que o treino com o princípio da sobrecarga, com intensidade e intervalo controlados, levou à adaptação do sistema vocal, em relação à instabilidade. Portanto, os achados deste estudo tornam necessária a reflexão sobre a prática e execução das técnicas e treinamentos vocais tradicionais, ressaltando a importância dos princípios da fisiologia do exercício nas práticas fonoaudiológicas na clínica vocal.
Physical training is a repetitive and systematic process composed of physical progressive exercises which aims to improve the performance. One of the principles of exercise physiology is the overload that is based on develop the training with interval training. The aim of this study was to evaluate the effect of Proposal of Periodization of the Vocal Training (PPVT) with sonorous tongue vibration technique in the vocal quality of women without vocal complaints and healthy voices. Prospective, controlled and randomized study, developed after approval by Human Research Ethics Committees (HRECs) from FOB/USP (purport 1.198.625).The study included 30 women aged 18 to 39, vocally healthy (evidenced through protocol of symptoms vocal/laryngeal, vocal assessment and initial laryngological), divided into two groups randomly: experimental group (EG) with 15 women who received six sessions of PPVT; control group (CG) with 15 women who received six sessions of traditional vocal training. After signing of the informed consent, the volunteers through the evaluations before and after training and, after 30 days of training. The assessments performed were: research of the sensations in the voice, larynx, breathing and articulation (session to session); measurement of the usual vocal intensity; measurement of phonatory measures; vocal recording for later analysis-perceptive-auditory and acoustics of the voice. For both groups the training consisted of 12 minutes of execution of sonorous tongue vibration technique (STVT) in usual pitch. Vocal training from EG (PPVT) considered the principle of overload, with administration of vocal intensity and controlled execution intervals STVT (30 seconds) and rest (30 seconds). The volunteers of the CG performed the STVT in a traditional way, with rest period every three minutes, but without the rest time control. The statistical tests (significance level of 0.05) showed that the sensations after training, controlled session to session were positive for both groups (signal Test). The positive sensations in the voice and articulation were the most reported by both groups. The test ANOVA, followed by Tukey revealed that the EG presented significant increase of usual vocal intensity after PPVT 30 days after the issuance of the vowel /a/, which did not occur with the CG; There was no significant difference in the phonatory measures after the vocal training in both groups. Perceptive-auditory analysis (Signal test) revealed that the instability parameter has improved significantly in the EG after the PPVT and 30 days after, which did not occur with the GC. On the other hand, the GC presented significant worsening 30 days after the traditional vocal training of tension parameter. Through ANOVA and Tukey test, acoustic analysis revealed significant improvement in jitter values and frequency variation (Vf0) in EG, 30 days after, what did not happened with the CG. Though, the CG presented significant improvement of the soft phonation index after the traditional vocal training, but it did not hold 30 days after.This study made it possible to conclude that the PPVT, with the use of the STVT was able to produce effects on vocal quality, with improved vocal instability, usual vocal intensity and acoustic measures (Vf0 and jitter) when compared to the traditional vocal training, women healthy vocally. The proposed vocal training did not influence negatively in the accounts of sensations in the voice, larynx, breathing and articulation. It is concluded that the training with the principle of overload, with intensity and controlled interval, led to the adaptation of the vocal system in relation to the instability. Therefore, the findings of this study make it necessary the reflection on the practice and implementation of techniques and traditional vocal training, emphasizing the importance of the principles of exercise physiology in the speech therapy practices at the clinic.

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Crouch, Michelle Joy. "Training singers to be literate musicians: the integration of musical, linguistic, and technical skills in the private voice studio." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/657.

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The singer faces some significant challenges in learning to read music, namely that their instrument has no physical domain for pitch and they must sing two languages simultaneously. When those challenges are combined with the fact that they often arrive in college with less well-developed literacy skills compared with instrumentalists, and that musical literacy instruction is often linked immediately with theoretical analysis before literacy has been established, it is not surprising that singers graduate with graduate degrees with poor musical literacy skills. Using principles of second language acquisition and reading theory, this paper seeks to present a case for the separation of theory and literacy in college curricula, and proposes that such a development will not only see the musical literacy skills of singers improve, but can be seen as the foundation for the connection of performance and theoretical streams of musical study in higher education.

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Pedra, Ariane Moulin. "Voz no teatro: efeitos de uma intervenção com foco no registro vocal." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/12048.

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Made available in DSpace on 2016-04-27T18:12:13Z (GMT). No. of bitstreams: 1 Ariane Moulin Pedra.pdf: 2163962 bytes, checksum: c246cb4e09b6c16e7dac466f859997f3 (MD5) Previous issue date: 2016-02-26
Introduction: voice is an essential element in the preparation of actors, and an integral part of the character creation process. To be able to involve the audience in his or her acting, an actor should have, among other requisites, total domain over his or her body and voice. Objective: to assess the effects of a speech-language intervention focused on vocal register in the spoken voice of theater actors. Method: this research involved 53 theater actors, who were submitted to an intervention focused on their vocal registers. For the gathering of speech samples, the subjects were requested to record, before and after the intervention, an excerpt of the selected theater play. Two people were invited to sit in the audience to contextualize the actors performances. The material recorded before and after the intervention was edited randomly and the order was determined via an intra-subject draw, and presented separately to a panel of three speech therapists, who then conducted an auditory perceptual assessment. The assessment instrument was elaborated through a pilot study. The data were analyzed statistically, considering the average of each parameter and the comparison between the different assessments of the two moments (before and after the intervention). Results: there was a statistically significant difference between the before and after moments for all variables, particularly in regard to loudness and voice projection, which gained 1 point. Conclusion: the proposed intervention focused on vocal register produced positive effects on the subjects voices, and may be a useful tool for speech therapists working with actors, increasing these professionals vocal well-being and improving the techniques they employ on stage
Introdução: a voz é um dos elementos essenciais na preparação de atores e constitutivo do processo criativo da personagem. Para que o ator envolva a plateia com sua interpretação é necessário que tenha, entre outros quesitos, domínio de seu corpo e sua voz. Objetivo: avaliar os efeitos de uma intervenção fonoaudiológica com foco no registro vocal na voz falada de atores de teatro Método: participaram desta pesquisa 53 atores de teatro, que foram submetidos à intervenção com foco no registro vocal, composta por um momento preparatório e de vocalises da vogal [ɛ] com língua para fora e vocalise da vogal [ɒ] com uso de rolha. Para coleta de amostra de fala, os sujeitos foram solicitados a emitir, antes e depois da realização da intervenção, um trecho de texto teatral selecionado. Duas pessoas foram convidadas a sentar na plateia para contextualização da atuação do ator. O material gravado, antes e depois da intervenção, foi editado de forma aleatória e determinado por sorteio intra-sujeito e apresentado separadamente a três juízes fonoaudiólogos que fizeram a avaliação perceptivo-auditiva. O instrumento de avaliação foi elaborado a partir de um estudo piloto. Os dados foram analisados estatisticamente, considerando a média de cada parâmetro e a comparação das diferentes avaliações sobre os dois momentos (antes e depois da intervenção). Resultado: houve diferença estatisticamente significativa entre os momentos antes e depois da intervenção para todas as variáveis, com destaque para loudness e projeção vocal que apresentaram ganho de 1 ponto. Conclusão: a intervenção com foco no registro vocal proposta gerou efeitos positivos na voz do ator, e pode-se constituir em mais uma ferramenta para fonoaudiólogos trabalharem com atores, auxiliando-os no bem-estar vocal e aprimoramento de técnicas que os auxiliem no palco

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DeSilva, Bryan Edward. "A SURVEY OF THE CURRENT STATE OF CONTEMPORARY COMMERCIAL MUSIC (CCM) VOCAL PEDAGOGY TRAINING AT THE GRADUATE LEVEL." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/380835.

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Music Performance
D.M.A.
In 2008, the American Academy of Teachers of Singing released a paper in support of further research and training in the teaching of non-classical music or Contemporary Commercial Music (CCM). CCM can be defined as encompassing (but not limited to) the following genres: musical theatre, pop, rock, gospel, R&B, soul, hip-hop, rap, country, folk, and experimental music. Despite the increase in number of musical theatre and CCM degree programs at American universities, and the that national voice pedagogy organizations have begun to include musical theatre competitions and masterclasses, such academic training for future voice teachers has not met the demand. A 2003 survey by LoVetri and Weekly to evaluate the levels of training and experience of voice teachers in CCM styles of singing showed that while 71 schools offered Bachelor’s degrees in Musical Theatre, there were no schools offering CCM voice pedagogy training. In a 2009 follow-up, Weekly and LoVetri found that only 19% of those surveyed had any training to teach Musical Theatre. Additionally, many teachers indicated they were only classically trained and had no idea how to sing in any other style. For this study a three-part survey containing 27 questions was used to survey voice teachers who had been enrolled in or completed graduate-level (MM or DMA) voice programs since the publication of Weekly and LoVetri’s most recent survey. The purpose of the survey was to discover the pedagogical training of recent graduate voice students in CCM. The data is collected from a population in which n=66. While this study did show an increase in pedagogical training in CCM at the graduate university level (26%) as well as an increase in the number of CCM teachers with both graduate-level training and performance experience, this increase was small, and the majority of those who reported having received training did so through private instruction or independent study.
Temple University--Theses

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Sorge, Radovani Lavinia Sabina. "Los problemas vocales del actor en formación. Evaluación de un programa de intervención para la prevención y tratamiento de voces patológicas en el Departamento de Artes Escénicas de la Universidad de Antioquia." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/328413.

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En el campo de la formación teatral hay un instrumento expresivo que amerita todo un trabajo de entrenamiento específico: la voz. Se puede afirmar que el instrumento vocal no es solamente parte del contexto físico del actor, sino que con entrenamiento y adecuación técnica puede convertirse en un efectivo medio orgánico de expresión. Esta investigación tiene como finalidad evaluar la incidencia del curso electivo Evoca, el cual fue diseñado para prevenir, diagnosticar y tratar problemas vocales de los actores en proceso de formación. Este curso se imparte en el Departamento de Artes Escénicas de la Universidad de Antioquia (Medellín – Colombia). A lo largo del texto se exponen los efectos del curso electivo Evoca, analizando los parámetros acústicos de eficiencia vocal y autopercepción, antes y después de la intervención. Se evalúa si la población estudiada se acerca a los parámetros de normalidad en el uso de su voz, si hay cambios en la dificultad vocal diagnosticada o percibida, si se presentan diferencias en la emisión vocal teatral o si hay cambios en el equilibrio corporal y el gesto respiratorio. Para lograrlo se contrastan los resultados obtenidos en dos grupos de estudiantes que conforman la muestra: GI – (grupo intervenido) y GC (grupo de control). La estructura de esta tesis está conformada por tres grandes bloques: marco teórico, marco metodológico, y análisis de resultados y conclusiones. En el marco teórico se exponen los insumos necesarios para la formulación del trabajo de campo profundizando en aspectos específicos del curso Evoca. Se incluyen opiniones de varios expertos, reflexiones alrededor de la voz actoral, la concepción sobre el entrenamiento y la enseñanza de la voz en Colombia. El marco metodológico ofrece un contexto claro de la población a la cual va dirigido el curso, los procesos seguidos para la aplicación de la intervención, los modelos de evaluación y la recolección de datos. Se exponen además, los objetivos y el diseño de la investigación describiendo el proceso de elaboración, confección y validación de instrumentos utilizados para la recolección de datos. En el capítulo análisis de resultados y conclusiones, se presentan los resultados obtenidos en cada uno de las variantes analizadas: eficiencia vocal y autopercepción, parámetros acústicos, cambios en el equilibrio corporal, el gesto respiratorio y apreciaciones de satisfacción del estudiante con referencia al programa cursado. Finalmente se exponen las conclusiones y reflexiones desarrolladas a lo largo de la investigación que conducen al planteamiento de nuevos estudios, esto con el fin de avanzar en la mejora de los procesos de educación vocal dentro de las escuelas de formación de actores en Colombia.
In the theatre formation field exists an expressive instrument that requires a specific training: the voice. We can say that the vocal instrument isn’t just the physical context of the actor, because with a training process and with an adequate technique it can become an effective and organic way of expression. This research has the objective to evaluate the importance of the “Evoca” course, which was created to prevent, diagnose and treat vocal problems of the actors that are in training processes. This course will be taught in the Scenic Art Department of the Antioquia University (Medellin-Colombia). Along this essay the effects of the “Evoca” course are being exposed, analyzing the acoustic parameters of the vocal auto perception and vocal efficiency before and after an intervention. An evaluation will determine if the target is close to the normal parameters of their voice use, if there any changes in the vocal difficulty diagnosis, if changes are perceived in the theatric voice or if any changes are perceived in body balance and respiratory gestures. To achieve with success the analysis, the results of two groups of students, GI- (group with the intervention) and GC (control group), are going to be compared. The structure of this thesis is conformed by three big steps: theoretical framework, methodological framework and the analysis of results and conclusions. In the theoretical framework, some necessary inputs are going to be exposed in order to organize and set how emphatic should the fieldwork be on specific aspects of the “Evoca” course. Opinions of several experts, thoughts and reflections of the acting voice, the perception of the training process and the voice teaching in Colombia, are topics that are going to be included as well. The methodological framework exposes a clear context of the course target, the processes used to apply the intervention, the evaluation models and the data collection. Also, the objectives and the design of the investigation are exposed, describing the process of elaboration, confection and validation of the tools and methods used to data collection. In the analysis of results and conclusions chapter, the results of each step are going to be presented: vocal efficiency and auto perception, acoustic parameters, changes in body balance, respiratory gestures and the opinions on how satisfied are the students with the coursed program. Finally, conclusions and reflections developed along the investigation are going to be exposed. These conclusions, lead to new studies approaches that helps to move along and improve the vocal education processes in the different schools that forms and trains actors in Colombia.

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Zimmer, Valquíria. "TEMPO IDEAL DE VIBRAÇÃO LINGUAL SONORIZADA E QUALIDADE VOCAL DE MULHERES." Universidade Federal de Santa Maria, 2011. http://repositorio.ufsm.br/handle/1/6502.

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This study aimed to determine the optimal time of tongue vibration technique (STVT) and acoustic measures of the glottal source, spectrographic acoustic measures and technical after- subjective sensations in women without complaints and/or voice disorders and/or laryngeal. Materials and Methods: 68 young adult women were submitted to otorhinolaryngologic evaluation and speech screening to eliminate possible changes that could interfere with the results of the study. Vocal samples were collected before and after performing three sets of 15 repetitions of STVT in maximum phonation time with normal tone and habitual intensity, and 30 seconds of passive rest between each series. The acoustic analysis of voice through the Multi Dimensional Voice Program Advanced and the Real Time Spectrogram software (Kay Pentax) was used to generate broadband and narrowband spectrograms before and after the execution of STVT. The analysis of the sensations after using STVT was assessed using a questionnaire for the survey. Data were tabulated into two groups: time of maintenance of STVT up to three minutes (n=24) and time of maintenance over three minutes (n=44). Results were analyzed statistically at the significance level of 5%. Statistical analysis was performed by analysis of variance (ANOVA), Student s t test using Minitab 15.0, Pearson s coefficient of correlation and comparison tests for two proportions. Results: a significant increase of frequencies (F0) and the average frequency (MF0) was observed when STVT was performed over three minutes. A significant improvement of the long-term stability measurement (vF0), of the jitter measurements (PPQ) and of harmonic noise ratio (HNR) was observed. There was a positive correlation in all aspects of the broadband and narrowband and most of the aspects presented a very strong correlation. A predominance of positive sensations in both time intervals was observed. A very strong positive correlation between spectrographic analysis and sensations was reported after STVT in almost all aspects evaluated in broadband and narrowband. Conclusion: there were significant differences between the measurements of the glottal source after three minutes of STVT, and no significant changes occurred in the measurements with time of performance up to three minutes. There were no significant differences of the broadband and narrowband results regarding time of maintenance. Correlations between spectrographic aspects and sensations after performing STVT were positive in both time intervals of the technique. Thus, the group studied we obtained positive results in the glottal source with more than three minutes to perform the STVT, where for positive results in the vocal tract, to perform three minutes was enough.
Esta pesquisa teve como objetivo verificar o tempo ideal da técnica de vibração lingual sonorizada (TVLS) e as medidas acústicas de fonte glótica, medidas acústicas espectrográficas, e sensações subjetivas pós-técnica em mulheres sem queixas e ou alterações vocais e/ou laríngeas. Materiais e Métodos: 68 mulheres adultas jovens foram submetidas à avaliação otorrinolaringológica e triagem fonoaudiológica, a fim de eliminar possíveis alterações que pudessem interferir nos resultados da pesquisa. As amostras vocais foram coletadas antes e após a realização de três séries de 15 repetições da TVLS em tempo máximo de fonação com tom e intensidade habituais e 30 segundos de repouso passivo entre cada série. Utilizou-se a análise acústica das vozes, pelo Multi Dimensional Voice Program Advanced e o software Real Time Spectrogram (Kay Pentax) para gerar espectrogramas de banda larga e de banda estreita antes e após a execução da TVLS. A análise das sensações subjetivas pós-TVLS foi avaliada a partir de um questionário elaborado para a pesquisa. Os dados obtidos foram tabulados em dois grupos: tempo de sustentação da TVLS de até três minutos (n=24) e tempo de sustentação superior a três minutos (n=44). Os resultados foram analisados estatisticamente ao nível de significância de 5%, sendo que a estatística foi realizada através da análise de variância (ANOVA), do teste t de Student pelo programa minitab 15.0, testes do coeficiente de correlação de Pearson e de comparação para duas proporções. Resultados: verificou-se, após mais de três minutos de execução da TVLS, aumento significante das frequências (f0) e da média das frequências (Mf0); melhora significativa da medida de estabilidade de longo prazo (vf0); melhora significativa da medida de jitter (PPQ) e melhora significante da proporção ruído harmônico (NHR). Verificou-se correlação positiva em todos os aspectos da banda larga e banda estreita e a maioria dos aspectos foi de correlação muito forte. Predominaram as sensações positivas em ambos os intervalos de tempo e a correlação entre a análise espectrográfica e as sensações relatadas após a realização da TVLS mostrou correlação positiva muito forte na quase totalidade dos aspectos avaliados em banda larga e banda estreita. Conclusão: houve diferença significativa entre as medidas de fonte glótica após três minutos de execução da TVLS e não ocorreram mudanças significativas das medidas com tempo de execução até três minutos. Não houve diferenças consideráveis dos resultados da banda larga e banda estreita conforme o tempo de sustentação. As correlações entre os aspectos espectrográficos e sensações após a execução da TVLS foram positivas em ambos os intervalos de tempo de realização da técnica. Dessa forma, no grupo estudado obteve-se resultados positivos ao nível da fonte glótica com mais de três minutos de realização da TVLS, sendo que, para resultados positivos ao nível do trato vocal, a execução de até três minutos de exercício foi suficiente.

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Morone, Wanessa. "Análise nasofibroscópica dos efeitos das técnicas vocais em pacientes com queixa vocal após tireoidectomia." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/5/5170/tde-19052015-152918/.

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Introdução: A terapia vocal após tireoidectomia tem como objetivo reduzir características de rugosidade, soprosidade, tensão e incoordenação pneumofonoarticulatória. A nasofibroscopia é um exame que permite analisar alterações orgânicas, neurogênicas e funcionais de laringe, assim como observar o comportamento laríngeo durante a execução de técnicas vocais. Objetivo: analisar a configuração laríngea em pacientes com queixa vocal após tireoidectomia durante a execução das técnicas terapêuticas. Método: Trata-se de um estudo transversal observacional comparativo no qual foram avaliados indivíduos adultos atendidos pelo Serviço de Cirurgia de Cabeça e Pescoço do Hospital das Clínicas da Faculdade de Medicina da USP. A amostra foi composta por 31 indivíduos do gênero feminino, entre 20 e 50 anos, dos quais 21 com queixa vocal após tireoidectomia total ou parcial e dez sem cirurgia ou tratamento prévio de doença de tireoide. A amostra foi dividida em três grupos: com mobilidade laríngea (GEmob, n=16), sem mobilidade laríngea (GEimob, n=5) e o grupo-controle (GC, n=10), todos sem terapia fonoaudiológica prévia. Foram submetidos à nasofibroscopia e instruídos a repetir duas vezes, por cinco segundos, cada uma das seguintes técnicas: vogal /a/ prolongada com mãos em gancho (AMEG), vibratório de língua (VL) e fonação com canudo (FC). As imagens do exame foram analisadas por dois juízes concomitantemente, que preencheram parte do Protocolo de Cooperação Fonoaudiológica para a Avaliação Nasofibrolaringoscópica da Mobilidade Laríngea em Doenças da Tireoide - PAN para observação da configuração laríngea. Resultados: Não houve diferença significante no grupo GEimob. Quando comparados a vogal /a/ com AMEG e FC, houve mudança no movimento ântero-posterior nos grupos GEmob e controle. Conclusão: As técnicas FC e AMEG alteraram a configuração laríngea supraglótica em pacientes com mobilidade laríngea. A técnica AMEG promoveu maior adução de pregas vocais em pacientes com imobilidade
Vocal therapy after thyroidectomy aims to reduce roughness, breathiness, strain and pneumophonoarticulatory incoordination. Nasofibroscopy is a test that permits the analysis of organic, neurogenic and functional larynx alterations, as well as the observation of laryngeal behavior during the execution of vocal techniques. The aim of this study was to analyze laryngeal configuration in patients with vocal complaint after thyroidectomy during the performance of therapeutic techniques. A transversal observational comparative study in which adults were seen by the Hospital das Clínicas Head and Neck Service, São Paulo University Medical School. The sample was composed of 31 people of the female gender, aged between 20 and 50 years old, 21 with vocal complaint after total or partial thyroidectomy, and 10 with no surgery or previous treatment for a thyroid disease. The sample was divided into three groups: with laryngeal mobility (mobSG, n=16), with no laryngeal mobility (immobSG, n=5) and the control group (CG, n=10), all with no previous phonoaudiological therapy. Groups were submitted to nasofibroscopy and instructed to repeat twice, for 5 seconds, each of the following techniques: prolonged /a/ vowel with hooked hands (AMEG), tongue trill (TT) and straw phonation (SP). The images of the test were analyzed by two judges simultaneously, who filled in part of the Phonoaudiological Cooperation Protocol for Nasofibrolaryngoscopic Assessment of laryngeal mobility in Thyroid Diseases - PAN for the observation of laryngeal configuration. There was no significant difference in the immob SG group. When the /a/ vowel was compared with AMEG and SP, there was some change in anteroposterior movement in groups SGmob and control. Conclusion: SP and AMEG techniques alter supraglottic laryngeal configuration in patients with laryngeal mobility. The AMEG technique allows for more adduction of the vocal folds in patients with immobility

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Andrade, Simone Rattay. "TERAPIA VOCAL DE BASE E SONS NASAIS: EFEITOS SOBRE DISFONIAS HIPERCINÉTICAS." Universidade Federal de Santa Maria, 2007. http://repositorio.ufsm.br/handle/1/6410.

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The proposal of the present study aimed to verify the effects of a speech therapy program that included the use of vocal orientation, adaptation of the breathing function and the technique of nasal sounds. It was investigated three individuals female with otolaryngological diagnosis of edema in the arytenoids area, small nodule in the right vocal fold, medium-subsequent rift and hemorrhagic points in both vocal folds; nodule in the left vocal fold and rift in the medium third; larynx without alterations; respectively. Otolaryngologists first examined people completely (ears, nose and throat), being also accomplished the videolaryngoscopy exam, for the visualization of the larynx s conditions and structures. After that, they were sent to the audiologic exam, in order to discard any hearing disorder. Later, the individuals without any hearing alterations were sent to individual speech therapy evaluations, in a private clinic, before the beginning of the treatment. Anamnesis, orofacial exam, corporal evaluation, and vocal evaluation were accomplished. During the treatment, they received orientations of vocal tract anatomy and physiology, voice cares, including therapy of water ingestion, breathing and posture aspects, besides of nasal sounds technique. The orientations and exercises done in the speech therapy sessions (with approximate time of 30 minutes), were also accomplished at home by the patients for more four days, once a day, for four months, in a total of sixteen sessions. After that, they were revalued to identify possible changes in the laryngeal and vocal aspects. The vocal data before and later accomplishment of the therapeutic program were submitted to the acoustics analyses, accomplished with the use of the Multi Dimensional Voice Program of Kay Elemetrics program, and perceptive-hearing accomplished by three judges (three speech therapy specialist in voice). The analysis of the results evidenced that the nasal sound, ally to the base therapy, propitiated: edema disappearance and of hemorrhagic points; decrease of medium-subsequent vocal rifts and nodules; better vibration of the mucous wave of the vocal folds; postural adaptation and kind of breathing; better breathing, speech and articulation coordination; better resonant focus, voice type, and loudness; pitch and fundamental frequency discreetly more acute; decrease of the noise and of the vocal instability. We came to the conclusion that the speech therapy base (breathing and posture orientation and adaptation), with emphasis in nasal sounds technique, promoted a positive effect on the structures of the vocal folds and on the vocal quality as a whole.
A proposta do presente estudo visou verificar os efeitos de um programa fonoterapêutico que incluiu a utilização da orientação vocal, da adequação da função respiratória e da técnica de sons nasais em três indivíduos do sexo feminino com diagnóstico otorrinolaringológico de edema na região aritenóide, pequeno nódulo na prega vocal direita, fenda médio-posterior e pontos hemorrágicos em ambas pregas vocais; nódulo na prega vocal esquerda e fenda no terço médio; laringe sem alterações; respectivamente. Primeiramente, os indivíduos foram examinados por médicos otorrinolaringologistas de forma completa (ouvidos, nariz e garganta), sendo também realizado o exame de videolaringoscopia, para a visualização das condições e estruturas da laringe. Após, foram encaminhados para o exame audiológico, a fim de descartar qualquer alteração auditiva. Posteriormente, os indivíduos sem alterações auditivas foram encaminhados para as avaliações fonoaudiológicas, individualmente, em consultório particular, antes do início do tratamento. Foram realizados anamnese, exame orofacial, avaliação corporal, e avaliação vocal. No tratamento, receberam orientações sobre anatomofisiologia do aparelho fonador, cuidados com a voz, incluindo a hidratoterapia, aspectos sobre respiração e postura, além da técnica de sons nasais. As orientações e exercícios trabalhados nas sessões fonoaudiológicas (com tempo aproximado de 30 minutos), foram realizados também no domicílio pelo sujeito por mais quatro dias da semana, uma vez ao dia, durante quatro meses, num total de dezesseis sessões. Após, os sujeitos foram reavaliados para identificar possíveis mudanças nos aspectos vocais e laríngeos. Os dados vocais pré e pós-realização do programa terapêutico foram submetidos às análises acústica, realizada com a utilização do programa Multi Dimensional Voice Program da Kay Elemetrics, e perceptivo-auditiva realizada por três juízes (três fonoaudiólogas especialistas em voz). A análise dos resultados evidenciou que o som nasal, aliado à terapia de base, propiciou: desaparecimento de edema e de pontos hemorrágicos; diminuição de fendas vocais médio-posteriores e nódulos; melhora da vibração da onda mucosa das pregas vocais; adequação postural e do tipo respiratório; melhora da coordenação pneumofonoarticulatória; melhora do foco ressonantal, do tipo de voz, e da loudness; pitch e freqüência fundamental discretamente mais agudos; diminuição do ruído e da instabilidade vocais. Concluiu-se que, neste estudo, a fonoterapia de base (orientação e adequação da respiração e da postura), com ênfase na técnica de sons nasais, promoveu um efeito positivo sobre as estruturas das pregas vocais e sobre a qualidade vocal como um todo.

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Souza, Glaucia Verena Sampaio de. "Consequências acústicas da variação tonal na emissão de vogal cantada em sopranos." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/5/5170/tde-08022019-075321/.

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INTRODUÇÃO: as possibilidades de inspeção acústica de dados, assim como suas correlações com aspectos perceptivos e fisiológicos, favorecem a análise do comportamento vocal. Na voz cantada tem-se características específicas de todos os parâmetros envolvidos durante o mecanismo de fonação sendo possível analisá-los acusticamente. OBJETIVO: descrever e analisar a frequência fundamental e formantes na variação tonal na vogal /a/ em sopranos. MÉTODOS: a amostra foi composta por 30 participantes do sexo feminino sem queixa vocal na faixa etária de 20 a 45 anos. Todas as emissões foram gravadas com a vogal /a/ sustentada durante cinco segundos com três repetições na frequência grave (C3 - 261 Hz), média (Eb4 - 622 Hz) e aguda (Bb4 - 932 Hz) confortável para classificação vocal. No total foram analisadas 90 amostras com extração digital da frequência fundamental (f0) e dos cinco primeiros formantes (F1,F2,F3,F4 e F5) e confirmação manual. Para análise estatística foi aplicado o teste de aderência Shapiro-Wilks e o teste de Friedmann para comparação de amostras pareadas. RESULTADOS: nas emissões em tons grave e médio, foram observados maiores valores nas frequências dos cinco primeiros formantes em relação ao valor de f0. Observou-se aproximação entre F1 e F2 nas duas tonalidades, com aglomerado de harmônicos na região de F3, F4 e F5 no tom grave e aproximação entre F3 e F4, pico em F5 e sintonia de harmônicos no tom médio. No entanto, na emissão em tom agudo, observou-se aumento dos valores de F2, F3, F4 e F5 em relação à f0, bem como a aproximação entre eles, além de sintonia entre f0 e F1, H2 e F2, H3 e F3, H4 e F4, e H5 e F5. CONCLUSÃO: as mudanças de tonalidade mostram diferenças no comportamento da frequência fundamental e dos formantes do som em sopranos. A comparação das emissões em f0 nas três tonalidades mostra modificações específicas do trato vocal harmônicos, com faixa de ganho extra em 261 Hz, sintonia entre picos de formantes e harmônicos em 622 Hz e equiparação de f0 e F1 em 932 Hz
INTRODUCTION: the possibilities of acoustic investigation of data and the correlation between perceptive and physiological trends, support general analysis of vocal behavior. In singing, we have specific characteristics from all of the parameters involved in the phonation mechanism and they can be acoustically analyzed. AIM: describe fundamental frequency and formants during articulation of the vowel /a/ in sopranos. METHOD: 30 healthy trained sopranos aged 20-45 were recorded singing with the sustained vowel /a/ during five seconds in three frequencies: low (C4 - 261 Hz), mid (Eb5 - 622 Hz) and high (Bb5 - 932 Hz). They also made three repetitions comfortably for the vocal classification. 90 samples were analyzed using automatic extraction from the fundamental frequency (f0) and the five primary formants (F1, F2, F3, F4 and F5) as well as manual confirmation. For statistical analysis, the Shapiro-Wilks adherence test and Friedmann test for paired samples were considered. RESULTS: in the low phonation frequency, all formants F1, F2, F3, F4 and F5 were higher than (f0). In the mid-frequency each one of the five formants were higher than (f0). However, in high frequency, the first formant was equated with f0 whereas F2, F3, F4 and F5 were increased. In comparison with (f0) and (F1), the synchrony between f0 and F1, H2 and F2, H3 and F3, H4 and F4 and H5 and F5 was also noticed. CONCLUSION: the pitch changes have shown differences in formant and fundamental frequency behavior in sopranos. The comparison between the three tunes showed us specific vocal tract adaptation for singing observed by harmonics with extra band gain, in 261 Hz, 622Hz and the equalization of F1=f0 in 932 Hz

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Nalesso, Karine Sandalo 1978. "Efeito terapêutico do uso exclusivo do tubo de ressonância flexível na região glótica e no trato vocal supraglótico." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/310470.

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Orientadores: Lúcia Figueiredo Mourão, Helenice Yemi Nakamura
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Ciências Médicas
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Resumo: Disfonias funcionais são alterações de voz decorrentes do comportamento vocal e o uso impróprio da voz torna-se o principal desencadeador das disfonias. O tubo de ressonância flexível, considerado integrante dos Exercícios de Trato Vocal Semiocluído, é um dos possíveis tratamentos para alterações vocais, dentre elas as disfonias funcionais, por permite uma fonação de menor impacto, com economia vocal. O objetivo do presente estudo foi analisar o efeito do uso contínuo e exclusivo do tubo de ressonância flexível nos parâmetros acústicos da região glótica e nas medidas do trato vocal supraglótico em sujeitos com disfonia funcional, pré e pós-intervenção. Participaram adultos entre 20 e 50 anos, 10 mulheres e 2 homens, em oito sessões de terapia com frequência semanal. Os seguintes parâmetros acústicos foram analisados: média da frequência fundamental, jitter, shimmer, proporção harmônico-ruído, H1-H2 e ênfase espectral. Para análise dos frames de imagem do trato vocal, obtidos por videofluoroscopia, oito medidas foram analisadas: a medida de abertura de lábio absoluta, abertura de mandíbula, ápice do dorso de língua ao palato duro, raíz da língua á faringe, comprimento horizontal e vertical do trato vocal, nível glótico, medida entre epiglote e a terceira vértebra, pré e pós-terapia. A tarefa utilizada para as gravações da análise acústica e na videofluoroscopia foi a vogal /a/. Para análise acústica, cada parâmetro foi medido em três pontos distintos da vogal e para a análise dos dados de imagem cada parâmetro foi extraído cinco vezes de cada frame para garantir a confiabilidade dos dados obtidos. A análise comparativa dos parâmetros acústicos mostrou aumento na F0 para o grupo masculino (p<0,01) e diminuição de jitter após terapia exclusiva com tubo (p=0.04). Os demais parâmetros mostraram pequenas mudanças e estão próximos aos valores padrão para sujeitos sem alteração vocal. As medidas do trato vocal mostraram aumento após a terapia, porém, sem significância estatística. As vozes dos sujeitos estudados apresentam pouca alteração nos parâmetros mesmo durante a pré-avaliação. O método estatístico LDA apontou para um alto índice de previsão dos resultados nos dois momentos estudados, considerando o conjunto de dados analisados. O efeito do uso exclusivo e contínuo do tubo flexível de látex em sujeitos com disfonia funcional parece se relacionar, neste experimento, com a melhora da estabilidade da frequência dos ciclos glóticos e com o aumento do número de ciclos glóticos por segundo. Os resultados demonstram que o efeito é mais expressivo nos homens do que nas mulheres disfônicas, porém estudos com maior número de homens são recomendados. Observou-se que os efeitos acústicos e de imagem do uso prolongado e exclusivo do tubo de ressonância flexível podem ser diferentes dos resultados em estudos imediatos. Em relação aos parâmetros acústicos analisados o jitter e a F0 mostraram melhoras dos valores obtidos no momento pós-terapia. Quanto ao trato vocal o uso do Lax Vox, sugere expansão principalmente da cavidade oral. Assim, pode-se sugerir que a intervenção terapêutica exclusiva do tubo de látex melhora globalmente a atividade glótica e a supraglótica de pacientes com disfonia funcional
Abstract: Functional dysphonia is a voice disorder generated by an inappropriate vocal use. One of the semioccluded vocal tract exercises, the flexible resonance tube, is one of the exercises that can be used in the management of functional dysphonia. Using the flexible resonance tube in water generates a low impact between the vocal folds during phonation and it is known to induce the concept of vocal economy. The goal of this study was to analyze acoustical parameters and vocal tract images pre and post prolonged and exclusive use of flexible resonance tube therapy in adults with functional dysphonia. Method: Participated 8 women and 2 men with functional dysphonia who received eight voice therapy sessions using exclusively flexible resonance tube. The following acoustic parameters were analyzed: fundamental frequency mean, jitter, shimmer, harmonic-to-noise ratio, H1-H2 and spectral emphasis. The vocal tract images were analyzed with eight distance measurements: the absolute lip opening measures, opening jaw, tongue back from the apex to the hard palate, the tongue will pharynx root, horizontal and vertical length of the vocal tract, glottal level measured between the epiglottis and the third vertebra, were taken from the images recorded before and after voice therapy. The task used for the analysis was a sustained /a/ vowel and measurements were taken from three distinct points of the vowel. Voice recordings were taken for pre (at the first session) and post-test (at the end of the eighth session) purpose. Paired t-test (p <0.05) was used to compare the means of the parameters pre and post-treatment. A comparative analysis of the acoustic parameters showed increase in F0 for the male group (p <0.001). Jitter decreased after the vocal therapy process (p = 0.04). The other parameters presented results close to the typical range for subjects without voice disorders. The statistics method Linear Discriminant Analysis (LDA) showed a high level of prediction in characterizing the two studied moments. The effect of exclusive and prolonged use of the flexible resonance tube in subjects with functional dysphonia seems to be related, with improved stability of the frequency of glottal cycles and increased number of glottic cycle per second (higher F0). The results demonstrated a more significant effect on the men than women, but further studies with a larger number of men in the subject group are recommended. The effect of prolonged and exclusive use of flexible tube in patients with functional dysphonia seems to be related to the stabilization of glottal cycles of vocal fold vibration and the LDA results revealed that the use of Lax Vox can provide a global improvement, considering the acoustic and image parameters
Mestrado
Interdisciplinaridade e Reabilitação
Mestra em Saúde, Interdisciplinaridade e Reabilitação

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35

Williams, Jenevora. "The implications of intensive singing training on the vocal health and development of boy choristers in an English cathedral choir." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10019322/.

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Boy choristers who sing in UK cathedrals and major chapels perform to a professional standard on a daily basis, with linked rehearsals, whilst also following a full school curriculum. This research will investigate the impact of this intensive schedule in relation to current vocal health and future development. This research reports the findings of a longitudinal chorister study, based in one of London's cathedrals. Singing and vocal behaviour have been profiled on a six-monthly basis across three years using data from a specially designed perceptual and acoustic assessment protocol. The speaking and singing voice data have been analysed using a selection of techniques in current usage in both laboratory and clinical settings. Evaluation and comparison of these methods has enabled a range of effective assessment protocols to be suggested. The behaviour of the voice at the onset of adolescent voice change has been observed using electroglottogram data. The boarding choristers numbered thirty-four in total, eleven of whom were selected for longitudinal analysis. Similar acoustic data have also been collected from three other groups of boys, a total of ninety individuals, for comparative purposes. It has been possible to quantify the possible influence of both school environment and vocal activity on overall vocal health. Significant differences have been noted between the vocal health of the boys in the chorister group and the non-choristers; the boarding choristers, although having the highest vocal loading, have the lowest incidence of voice disorder. This would in itself suggest that either the voice is being athletically conditioned to support such activity, or that the chorister group employs some self-regulation with regard to overusing the voice. The comparison with various other groups of boys implicates the cultural and social influences of peer groups in voice use. The longitudinal observations of the choristers illustrate the development of vocal skills and the impact of increased choral responsibility on the vocal health of the individuals. It has also provided insights into the vocal behaviour during the onset of adolescent voice change with particular information about the vocal skills employed in the upper pitch range; the nature of phonation in the upper pitch range of trained boy singers entering voice change.

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Constantini, Ana Carolina 1985. "Estudo da estruturação prosódica de repórteres da TV Universitária - Unicamp antes e após intervenção fonoadiológica." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269186.

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Orientador: Plínio Almeida Barbosa
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente trabalho teve como objetivo principal estudar a estruturação rítmica de enunciados de repórteres da TV Universitária - Unicamp que passaram por intervenção fonoaudiológica para aprimoramento vocal. O projeto foi aprovado pelo Comitê de Ética e Pesquisa da FCM (CEP/FCM/UNICAMP 211/2005). O estudo da estruturação rítmica desses enunciados se deu pela análise da evolução dos picos de duração de unidades do tamanho da sílaba (doravante Unidades VV), que compreendem o segmento acústico que vai de um onset vocálico até onset imediatamente seguinte, incluindo as consoantes entre eles (Barbosa, 2006). As unidades VV revelam informações sobre a estruturação rítmica de enunciados (Barbosa, 1994; 1996), fato que justifica o estudo dessas unidades dentro de enunciados telejornalísticos com a finalidade de conhecer a organização rítmica deste tipo de narração. A partir da análise da evolução da duração das Unidades VV no discurso telejornalístico, foram traçados outros objetivos, como a relação da duração com a curva entoacional da leitura do texto, para cuja notação utilizamos o sistema DaTo (Lucente, 2007;2008). Em seguida, foram aplicados testes perceptivos com a finalidade de investigar como as estratégias utilizadas pelos sujeitos estudados eram percebidas pelo ouvinte. Outro ponto estudado foi a relação entre sintaxe e prosódia, a partir da Gramática de Dependência (Tesnière, 1965) e seu uso em dados do português brasileiro (Barbosa 2006). Após a análise dos resultados mostramos que os sujeitos realizam mudanças consistentes em pontos específicos do texto narrado na condição pós-intervenção. As mudanças se caracterizam pelo aumento do valor da duração de unidades VV em posições específicas de acento frasal, aumento da variação da curva da frequência fundamental para realização de ênfases. Essas mesmas ênfases foram julgadas por ouvintes a fim de saber a repercussão das mudanças observadas na análise acústica. Em relação aos dados correlacionando a sintaxe e a prosódia, as marcas de dependência mais encontradas foram IDF (marcador entre fim de sentença e início da próxima sentença) e DfD (marcador encontrado entre governante, um nome, por exemplo, e e governado, por exemplo, um adjetivo posposto). Os resultados obtidos mostram que após o aprimoramento vocal, os sujeitos tornaram-se mais expressivos ao narrarem o texto, melhoraram o conhecimento em relação aos parâmetros prosódicos que podem ser utilizados em suas narrações para compor o fonoestilo que desejam incorporar
Abstract: The objective of this work was the study of the rhythmic organization of announcements of TV broadcast from the Unicamp Universitary TV. Two students of journalism passed by vocal training workshops with a speech therapist. The vocal training workshops intended to improve phonoarticulatory aspects involved in journalistic announcement. The study of the rhythmic organization of the announcements was done by analyzing the duration of Vowel-to-Vowel Units (VV units) throughout the utterances before and after the training. These units reveal the rhythmic organization of announcements in Brazilian Portuguese (henceforth BP) and they include the acoustic segments that start at a vowel onset to the next vowel onset (Barbosa, 1994;1996; 2006). Besides duration, the relationship between the melodic contour and the duration of VV units (using the DaTo notation system by Lucente, 2007; 2008) was investigated too. Perceptual tests were applied to try to reveal how the strategies used by the subjects to read the announcement would be interpreted by the listeners. Another aspect studied was the relationship between prosody and syntax according to the Dependency Grammar (Tesnière, 1965) theory (DG theory) as used by (Barbosa, 2006) to investigate this relationship in BP. Results showed that the duration of specific VV units related to emphatic expression were higher in the utterances produced after training. These changes were located in stressed syllable position where the fundamental frequency also varies more in the case of particular emphasis. As to the relation with syntax, the most common DG marks founded were IDF (between utterances) and DfD (between a head and its right dependent). Results showed that after training the subjects became more expressive to read the announcement and they improve their knowledge about prosodic aspects that are involved in journalistic phonostyle
Mestrado
Linguistica
Mestre em Linguística

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37

Pinkerton, A. Louise. "The influence of motor production experience on voice perception." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/5825.

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Perceptual speech and voice analysis is an essential skill for all speech-language pathologists, but it is a difficult skill to teach. Even the reliability for experienced experts is variable. Some training literature and practices in speech-language pathology suggest that imitating pathological voices may be useful for developing perceptual judgment. Evidence from other fields suggests that motor experience influences perception. Until now the link between production and perception of voice quality has not been addressed. The purpose of this pilot study is to test the hypothesis that imitating pathological voice samples would improve the perceptual discrimination abilities of naïve, inexperienced listeners. Three expert listeners rated 25 voice samples using a perceptual voice evaluation scale, the Grade, Instability, Roughness, Breathiness, Asthenia, Strain Scale (GIRBAS) (Dejonckere et al., 1996), and identified anchor samples for the training protocol. These expert ratings were used to develop summary expert ratings that served as a comparison for the naïve listener ratings. Two groups of naïve undergraduate listeners received training in evaluating voice quality and in administering the GIRBAS. They completed a pretest, a training session, a homework session, and a post-test. During each activity, they rated 6 voices and provided a confidence rating for their scores. The experimental group imitated the voice samples during the study, and the control group completed the training without supplemental motor experience. It was hypothesized that both listener groups would have improved accuracy and confidence levels between the pretest and post-test, with a larger improvement for the experimental group. Data suggested that training improved naïve listener accuracy and confidence levels and that this improvement was maintained for at least seven days after the initial training. Post-test accuracy for both groups was approximately the same. Imitation did not improve the accuracy of ratings, although those subjects had higher confidence levels. The data supported previous research that found that training improved the accuracy of perceptual voice evaluations. However, the hypothesis that imitation could improve perceptual ratings was not supported by this study and bears further investigation due to the small sample size.

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Serrano-Marquezin, Daniela Maria Santos. "Expressividade da fala de executivos: análise de aspectos perceptivos e acústicos da dinâmica vocal." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11969.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Introduction: today s executive professionals look for a competitive differential, which can be reached by effectively using speech expressivity resources to impress, convince and convey confidence to listeners. Objective: to analyze the speech expressivity features of a group of executives based on perceptive and acoustics aspects of vocal dynamics. Method: four male executives took part in the research study, identified as subjects (S1, S2, S3 and S4). Data collection comprised the application of Kingdomality test to attain descriptors - convincing/not convincing, objective/not objective, empathic/not empathic and confident/insecure. We also worked with recordings of speech samples. The excerpts selected were based on an argument to convincement. Assessments conducted included perceptive auditive assessment to characterize vocal quality and dynamics, performed by three speech therapist judges; perceptive-auditive assessment to judge the impressions caused by speech expressivity with regard to the descriptors selected, performed by 30 lay judges; and speech acoustics to assess prosodic elements such as f0 measures (minimum and maximum f0 and f0 extension), duration measures (vowel to vowel units and elocution times), articulation times, and pauses. Praat was the software used. We also conducted a statistical analysis to define significant differences. Results: S1 showed adequate vocal quality, precise articulation and laryngealpharyngeal resonance; lowered regular pitch; slow elocution time and inadequate respiratory support and inadequate use of pauses. This subject had the highest rejection, because he was found to be insecure, not objective, not empathic and not convincing. S2 showed adequate vocal quality, precise articulation and balanced resonance; neutral regular pitch and adequate respiratory support. The subject showed representative value of higher f0 variation; values considered average for elocution and articulation times; more regular use of pauses and was considered confident, little objective, empathic and convincing. S3 showed adequate vocal quality, precise articulation and laryngeal-pharyngeal resonance; lowered regular pitch and inadequate respiratory support; values considered average for elocution and articulation times; and pauses with more regular intervals. The subject was found to be confident, objective, empathic, and convincing. S4 showed suitable vocal quality, precise articulation and balanced resonance; lowered regular pitch and inadequate respiratory support; indicative value of lower f0 variation; values considered average for elocution and articulation times; and adequate use of pauses. This subject received the highest scores, being assessed as the most confident, objective, empathic and convincing. Conclusion: With regard to vocal dynamics, two subjects stood out from the others: one, in a positive manner, since he was able to convey confidence by using prosodic resources suitably. He was thus considered objective, emphatic and convincing. The other stood out in a negative manner, since the resources used were not effective. By breaking prosodic groups apart, the subject was not able to convey confidence. The subject was found to be little objective, not emphatic and not convincing
Introdução: profissionais executivos buscam, atualmente, um diferencial competitivo, o qual pode ser alcançado pelo uso efetivo dos recursos de expressividade da fala, no que se refere a impressionar, convencer e transmitir segurança. Objetivo: analisar características de expressividade da fala de um grupo de executivos a partir de dados perceptivos e acústicos da dinâmica vocal. Método: participaram da pesquisa quatro sujeitos (S1, S2, S3 e S4), executivos, do gênero masculino. Para coleta de dados foram realizadas: aplicação do teste Kingdomality para obtenção dos descritores - convincente/não convincente, objetivo/não objetivo, empático/não empático e seguro/inseguro e gravação que se constituiu de amostras de fala. Foi selecionado um trecho referente a uma frase de convencimento. E realizadas as avaliações: perceptivoauditiva para caracterização da qualidade vocal e da dinâmica da voz, por três fonoaudiólogos juízes; perceptivoauditiva para julgamento sobre as impressões causadas pela expressividade da fala quanto aos descritores, realizada por 30 juízes leigos; acústica da fala, para avaliação de elementos prosódicos como medidas de f0 (f0 mínimo, f0 máximo e extensão de f0), medidas de duração (unidades vogal a vogal e taxa de elocução), taxa de articulação e pausas, com a utilização do software Praat. Realizou-se análise estatística para definição de diferenças significativas. Resultados: S1 apresentou qualidade vocal adequada, articulação precisa e ressonância laringofaringea; pitch habitual abaixado; taxa de elocução lenta e suporte respiratório inadequado; uso inadequado de pausas; apresentou maior rejeição, pois foi apontado como inseguro, não objetivo, não empático e não convincente; S2 apresentou qualidade vocal adequada, articulação precisa e ressonância equilibrada; pitch habitual neutro e suporte respiratório adequado; apresentou valor representativo de maior variação de f0; valores considerados médios para as taxas de elocução e articulação; uso mais regular de pausas e foi considerado seguro, pouco objetivo, empático e convincente; S3 apresentou qualidade vocal adequada, articulação precisa e ressonância laringofaringea; pitch habitual abaixado e suporte respiratório inadequado; valores considerados médios para as taxas de elocução e articulação; pausas com intervalos mais regulares e apontado como seguro, objetivo, empático, e convincente; S4 apresentou qualidade vocal adequada, articulação precisa e ressonância equilibrada; pitch habitual abaixado e suporte respiratório inadequado; valor indicativo de menor variação de f0; valores considerados médios para as taxas de elocução e articulação; uso adequado das pausas; recebeu maior pontuação, sendo avaliado como o mais seguro, objetivo, empático e convincente. Conclusão: Com relação à dinâmica vocal, dois sujeitos mereceram destaque: um, de forma positiva, pois ao utilizar adequadamente os recursos prosódicos, transmitiu segurança, foi considerado objetivo, empático e convincente; e outro, de forma negativa, pois os recursos utilizados não foram efetivos, uma vez que com a realização de quebras dos grupos prosódicos, não transmitiu segurança, foi apontado como pouco objetivo, não empático e não convincente

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Cox, Frances Jayne. "The notion of physicality in vocal training for the performer in South African theatre, with particular reference to the Alexander technique." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002366.

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Voice training has been influenced by separatist attitudes which have allowed for classes which train the body to be separate from those which train the voice. This study acknowledges that to train an actor in separate compartments and then expect the completeness of human expression in performance, is to train under false pretences. There is a need to address the imbalance of separatism and this is examined within the context of voice training. An holistic approach to voice training forms the basis of the argument, which focuses on the need to re-educate the notion of physicality in voice training. Chapter one proposes an understanding of the notion of physicality by drawing on the attitudes of selected theatre practitioners towards the physical nature of the theatre encounter. The expressive energies of the actor's body are responsible for the physicalisation of a play; for this reason the movement of voice and speech is not only examined as source movement, but also as the movement of an actor's response and communication. Chapter two examines some practices which led to attitudes of separatism in voice training, and introduces prevalent practices which are attempting to involve the energy of the physical experience. Chapter three proposes that the Alexander technique be used as the foundation for an awareness of individual physicality. Where chapter one examines the theory of this notion, chapter three proposes an experiential understanding of the same. The Alexander technique is a training in effective body use and it's principles are fundamental to an awareness of body use and functioning. It is argued that these principles should underlie a re-education of physicality. The final chapter of the thesis argues for physicality in South African voice training programmes which would complement the physicality of contemporary theatre forms. It is hoped that this study will provide further incentive for the continued review and adjustment of drama training in South Africa.

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Masson, Maria Lúcia Vaz. "Aula, repouso, aquecimento e desaquecimento vocal em professores de uma escola pública de ensino médio de Salvador - BA /." Marília : [s.n.], 2009. http://hdl.handle.net/11449/102209.

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Orientador: Maria de Lourdes Morales Horiguela
Banca: Léslie Piccolotto Ferreira
Banca: Maria Suzana Behlau
Banca: Eliana Maria Gradim Fabron
Banca: Simone Aparecida Capellini
Resumo: Justificativa: professores compõem uma categoria profissional que tem a voz como um dos cruciais instrumentos de trabalho. Fatores de risco os expõem a alterações vocais que podem prejudicar o exercício profissional. Dentre os aspectos considerados no cuidado com a voz, o aquecimento e o desaquecimento vocal possibilitam a preparação da voz para o uso em sala de aula. Objetivo: analisar os efeitos da aula, do repouso e de um procedimento de aquecimento e desaquecimento vocal na qualidade da voz e no grau de desconforto auto-referido. Métodos: Dezoito professores de uma escola pública estadual do município de Salvador-BA, selecionada por conveniência, compuseram a amostra deste estudo. Dividiram-se as amostras entre grupos experimental (n=8) e controle (n=10) e analisaram-se os efeitos da aula e repouso (grupo controle), aquecimento e desaquecimento vocal (grupo experimental), considerando-se a avaliação de juízes por meio da escala GRBASI e ressonância, análise acústica e grau de desconforto auto-referido. O material analisado foi submetido a tratamento estatístico, sendo considerado nível de significância de 5%. Resultados: A aula provocou elevação estatisticamente significante da freqüência fundamental e aumento do grau de desconforto auto-referido. Não houve diferença significante nas variáveis analisadas para o repouso vocal. O aquecimento vocal proporcionou redução do grau geral de alteração vocal e diminuição do desconforto, especialmente nos aspectos relacionados ao corpo. O desaquecimento vocal proporcionou diminuição da freqüência fundamental e redução do grau de desconforto, especialmente relacionado à voz. A comparação entre os grupos experimental e controle não demonstrou diferença estatisticamente significante em nenhuma variável analisada. Tanto o desaquecimento quanto o repouso vocal proporcionaram o retorno da voz ao ajuste coloquial ...(Resumo completo, clicar acesso eletrônico abaixo)
Abstract:Justification: Voice is a main work tool for teachers and they are exposed to risk factors able to cause voice disorders. Vocal warm-up and cool-down procedures are used as preparation for the use of voice in classrooms. Goal: to analyze the effects of vocal warm-up and cool-down procedure, rest and lecture on voice quality, as well as on the degree of self-reported discomfort. Methods: the subjects of this research were 18 teachers of a state school in Salvador/BA, which were selected by convenience. They were divided in two groups, one experimental (n=8) and the control (n=10). Then they were subject to an analysis of the effects of lecture and rest (control group), vocal warmup and cool-down procedures (experimental group). The criteria for comparison between the voices were evaluation by judges, considering the GRBASI scale and resonance, analysis of acoustic parameters and the degree of self-related discomfort. The significance level for the statistical treatment was 5%. Results: lecture resulted in statistically relevant increase of the fundamental frequency and rising of self-related discomfort. Rest did not result on statistically significant difference on the variables. Vocal warm-up resulted on decreasing in degree of vocal alteration and discomfort, especially on body related aspects. Vocal cool-down resulted on decreasing the fundamental frequency and the degree of discomfort, especially on voice related aspects. Comparison between experimental and control groups did not show any statistical difference on the analyzed variables. Cool-down and rest showed equally positive on adjusting back to the colloquial voice. Conclusion: lecture has raised the vocal attrition, indicating the vocal loading to which teachers are exposed. The proposed procedure showed to be positive and able to be applied preventively. New studies, with a larger number of subjects, should take place, ...(Complete abstract click electronic address below)
Doutor

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de, Souza Andresa A. "PROMOTING THE EMERGENCE OF INTRAVERBAL RESPONSES IN YOUNG ADULTS WITH INTELLECTUAL DISABILITY: VERBAL BEHAVIOR TOPOGRAPHY AND FUNCTION." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/650.

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Skinner (1957) attested that the acquisition of one type of verbal operant will not necessarily occasion the emergence of another type of verbal response topography. In contrast, several studies have shown that multiple exemplar training (MET) is a mechanism that can facilitate the emergence of untrained operants, and it has been considered a powerful tool for establishing generalized operant responses also known as derived relational responses in the language of Relational Frame Theory (RFT). Using a multiple probe design across participants, the current study evaluated the effects of two training protocols in the emergence of untaught intraverbal responses (listing and vocal spelling of words). In Experiment 1, four participants diagnosed with intellectual disability were trained in taking dictation responses and tested for the emergence of intraverbal responses in the form of vocal spelling of words. In Experiment 2, three out of the four participants were trained to relate three sets of three synonyms each using a conditional discrimination training. The results demonstrated that the training procedures used during both experiments were effective in occasioning the emergence of untrained intraverbal responses. It was suggested that participants should have had a history of MET through the course of their academic life which facilitated the emergence of different intraverbal responses in this study.

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Ranney, Todd Edward. "Vocal Preparation For The High School Male (Preparing the High School Male Soloist for Contest/Audition - A Choral Director’s Guide)." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243865443.

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Masson, Maria Lúcia Vaz [UNESP]. "Aula, repouso, aquecimento e desaquecimento vocal em professores de uma escola pública de ensino médio de Salvador - BA." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/102209.

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Made available in DSpace on 2014-06-11T19:31:44Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-03-06Bitstream added on 2014-06-13T19:02:15Z : No. of bitstreams: 1 masson_mlv_dr_mar.pdf: 892378 bytes, checksum: ab195f0a93b5bb84375fb6b2ea0e5a25 (MD5)
Justificativa: professores compõem uma categoria profissional que tem a voz como um dos cruciais instrumentos de trabalho. Fatores de risco os expõem a alterações vocais que podem prejudicar o exercício profissional. Dentre os aspectos considerados no cuidado com a voz, o aquecimento e o desaquecimento vocal possibilitam a preparação da voz para o uso em sala de aula. Objetivo: analisar os efeitos da aula, do repouso e de um procedimento de aquecimento e desaquecimento vocal na qualidade da voz e no grau de desconforto auto-referido. Métodos: Dezoito professores de uma escola pública estadual do município de Salvador-BA, selecionada por conveniência, compuseram a amostra deste estudo. Dividiram-se as amostras entre grupos experimental (n=8) e controle (n=10) e analisaram-se os efeitos da aula e repouso (grupo controle), aquecimento e desaquecimento vocal (grupo experimental), considerando-se a avaliação de juízes por meio da escala GRBASI e ressonância, análise acústica e grau de desconforto auto-referido. O material analisado foi submetido a tratamento estatístico, sendo considerado nível de significância de 5%. Resultados: A aula provocou elevação estatisticamente significante da freqüência fundamental e aumento do grau de desconforto auto-referido. Não houve diferença significante nas variáveis analisadas para o repouso vocal. O aquecimento vocal proporcionou redução do grau geral de alteração vocal e diminuição do desconforto, especialmente nos aspectos relacionados ao corpo. O desaquecimento vocal proporcionou diminuição da freqüência fundamental e redução do grau de desconforto, especialmente relacionado à voz. A comparação entre os grupos experimental e controle não demonstrou diferença estatisticamente significante em nenhuma variável analisada. Tanto o desaquecimento quanto o repouso vocal proporcionaram o retorno da voz ao ajuste coloquial...
Justification: Voice is a main work tool for teachers and they are exposed to risk factors able to cause voice disorders. Vocal warm-up and cool-down procedures are used as preparation for the use of voice in classrooms. Goal: to analyze the effects of vocal warm-up and cool-down procedure, rest and lecture on voice quality, as well as on the degree of self-reported discomfort. Methods: the subjects of this research were 18 teachers of a state school in Salvador/BA, which were selected by convenience. They were divided in two groups, one experimental (n=8) and the control (n=10). Then they were subject to an analysis of the effects of lecture and rest (control group), vocal warmup and cool-down procedures (experimental group). The criteria for comparison between the voices were evaluation by judges, considering the GRBASI scale and resonance, analysis of acoustic parameters and the degree of self-related discomfort. The significance level for the statistical treatment was 5%. Results: lecture resulted in statistically relevant increase of the fundamental frequency and rising of self-related discomfort. Rest did not result on statistically significant difference on the variables. Vocal warm-up resulted on decreasing in degree of vocal alteration and discomfort, especially on body related aspects. Vocal cool-down resulted on decreasing the fundamental frequency and the degree of discomfort, especially on voice related aspects. Comparison between experimental and control groups did not show any statistical difference on the analyzed variables. Cool-down and rest showed equally positive on adjusting back to the colloquial voice. Conclusion: lecture has raised the vocal attrition, indicating the vocal loading to which teachers are exposed. The proposed procedure showed to be positive and able to be applied preventively. New studies, with a larger number of subjects, should take place, ...(Complete abstract click electronic address below)

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44

Huss, Jannike. "Den dialogiska flätan : En studie av det pedagogiska mötets betydelse i den individuella sångundervisningen." Thesis, Örebro University, School of Music, Theatre and Art, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-10082.

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The dialogical plait in individual vocal education

Thesis in Music Education by Jannike Huss. Part of the work for the master´s degree. Studies from School of Music, Theatre, and Art, University of Örebro, 2010. Available from Örebro University, SE-701 82 Örebro, Sweden. Original in Swedish.

This thesis treats the value of communication for individual vocal education on a higher level. The purpose is to examine and illuminate what is happening in the interaction between teacher and student in individual vocal education, and how it in turn can affect learning. To get deeper knowledge and understanding of the subject, observations of singing lessons and openhearted interviews have been conducted with one teacher and two of her students. During the discussions the participants gave their own views on how an effective communication can occur in the interaction between teacher and student. In this study, only individual lessons in singing on tertiary music education have been studied. The students participating in the study are both prospective teachers with a major in vocals, and it turned out that they already were obvious carriers of two different roles, namely their student role and also their future occupational role. Due to this fact they could experience the interaction from both sides. The interviews with both students were directly connected to their lessons, and after the lessons the teacher was interviewed. All the interviews took shape as open conversations, and have since been transformed into a coherent narrative with a narrative approach in order to create meaning and context (Kvale, 2008; Georgii-Hemming, 2005). Data from the empirical material has been processed, and recounted to a theoretical conceptual framework (von Wright, 2003; Buber, 2004).

Keywords:

Vocal education, dialogue, interaction face-to-face, intersubjectivity, relationship, teacher training.

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45

Rao, Ruchita. "Effects of Training in Vocalises on Singing Performance." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1122580181.

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Jared, Cara E. "The Effects of Response Interruption Redirection and Differential Reinforcement of Other Behaviors on Rates of Vocal Stereotypy." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313247693.

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Finardi, ângela Emília. "O centro de energia de base do corpo na preparação vocal do performer." Universidade do Estado de Santa Catarina, 2014. http://tede.udesc.br/handle/handle/1280.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research is about the articulation of my experience applied at the workshops Voice and Voice Action, from Carlos Simioni and From the Voice and the Body to the Kinetic Composition from Jorge Parente and Tiago Porteiro and the search of other references beyond the learned and incorporated ones to discuss the main question suggested: the central region of the body, the Base Energy Center, comprising the area of the hip and the venter. The fundamental objective of this studies is to investigate the relation in different practices and speeches about vocal support, understood here as the Base Energy Center, which can give support to the poetic voicing of the performer, from a theoretical framework that references in the literature and in some specific Eastern and Western cultural practices. This paper argues about how psychophysical exercises can increase consciousness of the performer on its Base Energy Center, and consequently improve the perception of his/her voice as a body production.
Essa pesquisa trata da articulação da minha experiência encarnada nas oficinas Voz e Ação Vocal, de Carlos Simioni e Do Corpo e da Voz à Composição Cinética de Jorge Parente e Tiago Porteiro e a busca de outras referências além das apreendidas e incorporadas para discutir a principal questão nela surgida: a de que a região central do corpo, seu Centro de Energia de Base, que compreende o quadril e o baixo ventre - desempenha influência determinante na corporeidade da voz nas ações vocais. O objetivo fundamental dos estudos é investigar a relação em diferentes práticas e discursos sobre o apoio vocal, aqui entendido como um Centro de Energia de Base, no qual pode se apoiar a vocalidade poética do performer, a partir de um arcabouço teórico que o referencie na literatura e em algumas práticas culturais ocidentais e orientais específicas. Esta dissertação argumenta que exercícios psicofísicos podem ampliar a consciência do performer sobre o seu Centro de Energia de Base, e consequentemente melhorar a percepção deste/desta da voz como uma produção corporal.

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Meadath, Brock Irvin. "Effects of Fitzmaurice Voicework® on the voice of graduate student actors." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3142.

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The vocal demands placed on actors are higher than those of the typical speaker. Actors' livelihood is predicated on their ability to consistently perform at peak levels, many times in conditions that are not optimal for vocal efficiency (e.g. theaters with poor acoustics). Further, many actors perform after spending the day at a second job to ensure they have a sufficient income to support themselves. Despite challenges, the hallmark of the strong actor is to strive for peak performance. To do so, many actors implement some form of theatre voice training. One popular method is Fitzmaurice Voicework®. Fitzmaurice Voicework® is comprised of two phases: Destructuring and Restructuring. Destructuring is based in decreasing tension through relaxation and tremoring. Restructuring focuses on maximizing voice function with the least amount of effort needed. This study specifically looked at the effect of Fitzmaurice Voicework® training on the voice, as it has little more than anecdotal evidence to support its effect. Six graduate student actors enrolled in a theatre voice course based on Fitzmaurice Voicework® completed pre and post training measures examining the changes in maximum phonation time, average loudness and loudness range, fundamental frequency and frequency range, jitter, shimmer, and noise to harmonic ratio, and perceptual measures of vocal quality (e.g. strain, breathiness, and roughness) on the CAPE-V. Despite no statistically significant findings due to the small sample size and noted variability between individual subjects, trends of more efficient performance post training were present for individuals without a history of voice problems.

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Jacarandá, Mariana Borges. "Aquecimento vocal: os efeitos perceptivos-auditivos, acústicos e as sensações proprioceptivas de uma proposta de intervenção fonoaudiológica junto ao professor." Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/12070.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Historicamente, o professor é tido como o profissional da voz com o maior índice de alteração vocal; no entanto, são poucas as publicações que apresentam, como tema central, propostas de intervenção e seus efeitos junto a essa população. Objetivo: Verificar os efeitos perceptivo-auditivos, acústicos e as sensações proprioceptivas de uma proposta de aquecimento vocal desenvolvida para o professor. Métodos: Participaram deste estudo 19 professores, sendo 14 homens e 5 mulheres, que lecionavam em um curso pré-vestibular de uma cidade com aproximadamente um milhão de habitantes, localizada no interior de São Paulo. Foram selecionados apenas os professores que lecionavam no período da manhã, sem sinal, sintoma e/ou queixa de alteração na voz, sem sinal de alterações nas vias aéreas superiores e/ou inferiores no dia da coleta e capazes de realizar a técnica de vibração de língua. A coleta de cada professor ocorreu nos 30 minutos que antecediam a primeira aula do dia. Nesse momento foram realizados: o preenchimento de um questionário de caracterização da amostra; a gravação pré-aquecimento vocal (gravação 1); a execução da proposta de aquecimento vocal durante aproximadamente 10 minutos; e a gravação pós-aquecimento vocal imediato (gravação 2) . Após a gravação 2, o professor foi para sua aula e ao retornar foi realizada a gravação pós-aula expositiva (gravação 3). As gravações 1 e 2 foram submetidas à avaliação perceptivo-auditiva por três fonoaudiólogas especialistas em voz. As gravações 1, 2 e 3 foram submetidas à análise acústica. Foi transcrito, da gravação 3, o relato de cada professor sobre suas sensações vocais e corporais despertadas pela proposta de aquecimento vocal. Resultados: A avaliação perceptivo-auditiva mostrou que, na gravação 2, houve uma melhora na voz de 12 (63,15%) sujeitos. A análise acústica evidenciou, em todo o grupo, uma elevação significativa da freqüência fundamental (f0) e da proporção harmônico-ruído (PHR) após a realização do aquecimento vocal, sendo que essa elevação se manteve após a utilização da voz em sala de aula. Quanto às sensações despertadas pelo aquecimento vocal segundo os relatos dos professores, das 29 sensações mencionadas, 25 (86,20%) foram positivas. Conclusão: Os resultados permitiram verificar que uma proposta de aquecimento vocal, voltada às necessidades profissionais do professor, possibilitou tanto a melhora na voz como o aumento da resistência vocal

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Stewart, Robert D. "Reflections on the Choral Rehearsal Cycle: An Approach to Professional Practice." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/411530.

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This dissertation explores and reflects on the professional practice of the author and a group of five experts through case studies. Incorporating interviews, observations, reflective journals, video footage, and a choral project, this research aims to explore how five expert choral conductors work in the rehearsal setting. Rehearsal techniques are as diverse as the individuals who practise them. Yet, even though conductors have their differences, the varied outcomes can still be judged as satisfactory. These techniques are not necessarily skills that have been taught in an undergraduate conducting class. Conducting courses and textbooks focus on beat patterns and other skills that must be mastered by the novice and which, in turn, lend themselves more readily to assessment. However, the running of a rehearsal is a complex mixture of musicianship and teaching skills that are continually developed over a lifetime of practice. The following questions emerge: how, then, do highly successful conductors work in rehearsal? What do they consider to be important parts of their own practice? What skills and attributes are crucial for successful ensemble leadership? For this research, five expert choral conductors were observed on site in multiple rehearsals and in working with a variety of vocal ensembles. They also participated in a wide-ranging, semistructured interview that further explored their approaches to conducting, repertoire selection, planning, personal philosophy, and reflections on their craft. The author used the data generated from the case studies and through a survey of core literature to experiment with their own practice during a 12-week rehearsal period that culminated in a performance of Haydn’s Missa in angustiis. The research project revealed that, while each case study conductor had an individualistic approach to their rehearsal delivery, five main characteristics appeared to be common amongst them all: they recognised the conductor’s role as a teacher; they were interested in working towards a sound ideal; they believed in their responsibility to develop skills; they included performance opportunities in the rehearsal setting; and they emphasised the importance of building community. As a result, these concepts formed the foundation of the author’s work with their own ensemble. These findings have implications for the author’s own practice as well as broader implications for other conductors and the training of student conductors. The results appear to advocate a more holistic approach to conducting and conductor training as well as the importance of developing community within the avocational choir.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
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Dissertations / Theses on the topic 'Vocal training'

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