Made available in DSpace on 2016-04-27T18:12:28Z (GMT). No. of bitstreams: 1 Aline Neves Pessoa.pdf: 4984178 bytes, checksum: d99c1ef907dc4b911ae372a955638bc2 (MD5) Previous issue date: 2008-02-22 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Introduction: Very few studies discuss speech development in hearing impaired children in the first years of life due to methodological difficulties and the number of variables involved. Acoustic inspection of articulatory adjustments and attempts to imitate a model made by the infant in different contexts can be a method to comprehend the manner in which first oral motor skills occur. The understanding of this process can provide strategies concerning intervention programs for infants in stages when motor gestures of speech are being acquired. The objective of this longitudinal study was to describe samples of speech production from a hearing impaired child, extracted from interactive situations in auditory rehabilitation, seeking to discuss phonetic development in different therapeutic contexts. The study also sets out to characterize and reflect upon the effects of therapist mediation in situations of longitudinal and transversal samples, particularly situations of spontaneous production and in immediate repetition facilitated by auditory feedback. Method: A case study design was used. The subject was 2y 11mo in the beginning of the study, and 3y 6mo at the last recording. I is a girl, with severe progressive bilateral sensory neural hearing loss with descending audiometric configuration. She had been using hearing aids since six months of age, and FM system since 3y 1mo of age. The effect of the use of FM system was also analyzed. Audio recordings of the child s therapy session were obtained and samples were selected based on auditory perception. These fragments were analyzed using a qualitative acoustic inspection. The PRAAT 4.0 software used for speech synthesis and analysis was utilized for acoustic inspection. Results and discussion: The data allows for discussion of the child s possibilities regarding adjustments of vocal source and filters in relation to her auditory feed back possibilities. Segmental and supra-segmental aspects were studied, as was modulation, tonal spectrum, fundamental frequency, and formants. The processes of substitution, omission, distortion, and odd solutions for articulatory adjustments, such as sudden vocal attack and nasalization, or systematic substitution of fricative for plosive phonemes were evident, especially spontaneous speech. Therapeutic strategies aimed at the multiplication of the possibilities of auditory feedback moments in which the child had greater possibility for adjustment in the form of its vocabulary we noticed that the articulators and source began to adjust in the direction of the target, and the articulatory gesture became more consistent. Also, after using the FM system in addition to hearing aids for five months, fricative phonemes, flaps, and other consonants that were previously less audible in the child s daily life became more frequent since she was able to perceive the form and meaning of speech in a more stable and accessible manner. Conclusions: Clinical strategies based on the need to more audibility aiming at speech development occur in the context of dialogues with the therapist. Multiple opportunities for auditory feedback are directed towards oral motor abilities in the acquisition of different phonemes. Therefore, acoustic inspection allowed for the establishment of relationship with auditory perception, enhancing the understanding of phonetic and phonological features, as well as symbolic and discursive aspects of oral language. Implications of the findings for clinical management are discussed. Acoustic inspection and its relation to auditory feed back seems to be a powerful method for understanding on the phonetic development in young children contributing to the development of therapeutic strategies / Introdução: Poucos estudos discutem a fase inicial do desenvolvimento de fala em sujeitos deficientes auditivos devido às dificuldades metodológicas e ao número de variáveis envolvidas. A inspeção acústica diante dos ajustes realizados na produção de fala em diferentes contextos propiciados pelo enquadre terapêutico pode ser uma possibilidade para compreendermos as primeiras hipóteses acerca das habilidades motoras de fala, a partir das condições sensoriais auditivas. A compreensão deste processo traz conhecimento acerca do desenvolvimento de linguagem de deficientes auditivos, repercutindo nas formulações de estratégias de intervenção/tratamento nessas crianças. Objetivo: Descrever amostras de produção de fala em uma criança com deficiência auditiva; caracterizar e refletir sobre a produção de fala em situações do enquadre terapêutico visando discutir os ajustes fonoarticulatórios na produção de fala dos sons do português brasileiro (PB), através da interpretação dos dados acústicos em relação à audição residual. Material e método: Trata-se de um estudo de caso, sendo o sujeito do sexo feminino, no início da pesquisa com 2a11m, e no término, com 3a6m de idade, portador de deficiência auditiva neurossensorial progressiva de grau profundo bilateral. A criança usava aparelhos de amplificação sonora individual (AASIs) desde 6 meses de idade e Sistema de Freqüência Modulada (Sistema FM) desde 3a1m de idade. Gravações de áudio da produção de fala em sessão terapêutica de abordagem verbaloral e os recortes transversais e longitudinais de sons de fala em diferentes contextos permitiram a inspeção acústica (através do software Praat v 4.0). Resultados e Discussão: Os dados trouxeram discussões acerca das hipóteses e dos ajustes de fonte e filtro realizados pela criança a partir da sua condição de utilização da audição residual. Aspectos segmentais, supra-segmentais e de qualidade vocal puderam ser estudados, tais como modulação, gama tonal, freqüência fundamental e formantes. Processos de ajustes, caracterizados também por substituições, omissões e distorções, e recursos, como o de golpe de glote e nasalização, dentre mudanças sistemáticas no modo de produção de consoantes (plosão no lugar de fricção) caracterizaram algumas das produções de fala da criança nos primeiros momentos da análise; as instabilidades e imprecisões articulatórias foram mais acentuadas nos momentos de emissão espontânea do que nos momentos por repetição imediata. A partir das estratégias terapêuticas, compostas por multiplicação de possibilidades de feedback auditivo, notou-se que os articuladores e fonte começaram a se ajustar mais precisamente em direção ao alvo, e assim, o gesto articulatório se mostrava menos frágil. O Sistema FM acoplado aos AASIs também ofereceu melhores condições de multiplicação de evidências sensoriais para a percepção auditiva; no decorrer dos meses, percebemos que as hipóteses e ajustes para formar engramas dos fones fricativos, laterais flapes, dentre outros começaram a se constituir no repertório lingüístico, definindo uma nova condição de a criança perceber a forma e o significado da língua de maneira lúdica, estável e acessível. Considerações Finais: O manejo clínico do fonoaudiólogo traz especificidades nas estratégias terapêuticas e oferece maiores e melhores oportunidades de a criança com deficiência auditiva construir suas hipóteses acerca da construção na/da linguagem no processo de aquisição dos sons do PB. Isso se dá, principalmente, a partir de múltiplas oportunidades de feedback auditivo e, portanto, acesso e oportunidades de experiências para a formação de engramas motores de fala. Por isso, consideramos que lançarmos mão da inspeção acústica, relacionando esses dados com a percepção auditiva, nos dá subsídio para um possível entendimento das características fonéticas/fonológicas (além das discursivas e simbólicas) da fala de um sujeito e das possibilidades de percepção e produção de fala, sendo que esses processos implicam em manejos no enquadre terapêutico

The purpose of the study was to investigate the effect of 10 minutes of daily exposure for 10 weeks to a Chinese Music Curriculum and its effect on generating positive cultural attitudes towards the Chinese people, improving tonal discrimination skills, singing accuracy of tonal patterns, and accuracy of singing Chinese lyrics for third-, fourth-, and fifth-grade students, compared to a comparison group not receiving the Chinese Music Curriculum. In an elementary school in Miami-Dade County, Florida, 6 third-, fourth-, and fifth-grade classes were chosen and randomly assigned to either an intervention or a comparison group. A Chinese Music Curriculum was developed for the intervention group and implemented by classroom teachers. Meanwhile, the comparison group received normal academic instruction and a weekly music class by a music specialist. Pre- and post-tests were administered to both the intervention and comparison groups: (1) Children's Attitudes toward Chinese (CATC), (2) Intermediate Measures of Music Audiation-Tonal (IMMA, Gordon, 1982), and (3) Tonal Pattern Performance Measure (TPPM). The Chinese Song Performance Measure (CSPM) was administered to the intervention group only in order to measure students' abilities for accurately singing the Chinese lyrics of a simple Chinese song, "Little Rat." Data were subjected to a mixed Multivariate Analysis of Variance (MANOVA) statistical analysis, item analysis, and Pearson Product-Moment correlation. The results demonstrated that the CATC survey was a reliable and valid measure to assess children's attitudes toward Chinese people. The overall effect of the Chinese Music Curriculum was significant in combination of the three outcome measures: CATC, IMMA, and TPPM. The follow-up individual examination revealed that children's attitudes toward Chinese people and tonal pattern singing accuracy were significantly improved, but tonal discrimination skills did not improve. Grade was found to influence children's singing accuracy of tonal patterns with fifth graders outperforming the third and fourth graders. All participants in the intervention group were able to sing a Chinese song with over 70% accuracy of the Chinese lyrics.

Plusieurs monographies récentes se sont intéressées à la traduction des littératures africaines europhones (Gyasi 2006, Bandia 2008, Batchelor 2009), faisant valoir le concept d’autotraduction (au sens métaphorique) et insistant sur le fait que ces écritures sont porteuses d’une oralité ou de marques linguistiques issues des langues parlées par les écrivains. Toutefois, la question de l’hybridité comme point de jonction entre littératures orales et écrites a encore rarement été examinée sous un angle poétique et c’est précisément dans cet esprit que cette recherche a été entreprise. Dans un premier temps, à partir des ouvrages originaux de six auteurs, trois d’expression littéraire anglaise (Farah, Hove et Armah) et trois d’expression littéraire française (Waberi, Adiaffi et Djebar), je montre en quoi ces écritures méritent d’être qualifiées de poétiques avant de mettre cette esthétique en relation avec le patrimoine littéraire de chacun des auteurs du corpus; ponctuellement, d’autres affiliations littéraires sont mises en évidence. Cette poétique est examinée dans sa dimension mélopoéique (Pound 1954), c’est-à-dire sous l’angle des structures audibles, appelées aussi figures de style jouant sur la forme phonétique des mots (Klein-Lataud 2001). Dans un second temps, j’examine comment cette poétique sonore a été recréée, tant de manière qualitative que quantitative, dans les traductions de Bardolph, de Richard et de J. et R. Mane (pour les auteurs d’expression anglaise) et de Garane, de Katiyo et de Blair (pour les auteurs d’expression française). Les enjeux associés à la réactivation des structures poétiques sonores sont mis en évidence dans le dernier chapitre qui propose un tour d’horizon des modalités de « consommation » de l’objet littéraire et qui s’achève sur les questions soulevées par la progression du livre audio. La méthodologie élaborée dans ce cadre s’inspire essentiellement de Berman (1995) et de Henry (2003). La conceptualisation de la poétique sonore, telle que mise en œuvre dans le contexte particulier de ces littératures, fait appel aux paradigmes de valence traductive (Folkart 2007) et de traduction métonymique (Tymoczko 1999). Par ailleurs, cette recherche s’appuie sur la récente thèse de doctorat de Fraser (2007) consacrée à la théorisation du sonore en traduction. / Recent publications explore Europhone African literatures as translation and in translation (Gyasi 2006, Bandia 2008, Batchelor 2009) insisting that these texts are better understood as a form of self-translation through oral subtexts, showing evidence of linguistic interplay by drawing on the writers’ native language(s). Yet hybridity as an encounter between oral and written literatures has seldom been explored in its poetic dimension. This lack of attention shapes the blueprint of this dissertation. Drawing on six original texts from African writers publishing in English (Farah, Hove and Armah) or in French (Waberi, Adiaffi and Djebar), I show in which extent these writings deserve to be labelled as poetic and how they are informed by the authors’ native literary background; occasionally I discuss other literary affiliations. In this specific context, I explore poetry in its melopoeic actualization (Pound 1954) as it relates to aural poetic devices (i.e. relying on their audible features). I then analyze, qualitatively and quantitatively, how this audible poetry has been reactivated by the translators: Bardolph, Richard, J. and R. Mane (translating Farah, Hove and Armah, respectively); Garane, Katiyo, Blair (translating Waberi, Adiaffi and Djebar, respectively). The last chapter suggests how reactivating sonorous poetic devices in translation relates to different literary modalities, especially audiobooks, as they represent a rapidly growing trend. The methodology draws on Antoine Berman’s translation project (1995) and Jacqueline Henry’s Traduire les jeux de mots (2003). Approaching the translation of aural/audible poetry in the specific context of these texts was facilitated by calling upon paradigms such as translational valency (Folkart 2007) and metonymy (Tymoczko 1999). Last but not least, this dissertation benefited from Fraser’s recent doctoral thesis (2007) dedicated to theorizing sound translation.

xiii, 221 p. : ill., music, forms. A print copy of this title is available through the UO Libraries under the call number: MUSIC MT35 .M87 2006 / The main purpose of the study was to examine the effects of learning songs by ear in multiple keys on skills in playing by ear and sight-reading. Secondary purposes of the study were to explore the effects of instruction on student attitudes, and to consider differential effects due to music aptitude. Students were brass and woodwind musicians ( N =28) in grades 7--8, placed in one of two instructional groups according to music aptitude, instrument, and music background. Time for instruction was three 20-minute lessons per week for four weeks. Students in the experimental group learned songs by ear in the keys of Bb, Db, and G concert, while students in the contact-control group practiced technical exercises in those same keys. Before and after instruction, students performed a well-known melody by ear in the keys of Bb, Db, and G concert, as well as a short etude in each of the three keys. Two adjudicators listened to recorded performances and evaluated pitch accuracy. To assess the effects of instruction on performance, repeated-measures ANOVAs considered the variables of group, time, and key. The experimental group improved significantly in playing by ear in the keys of Db and G concert, p < .001, but not in Bb. The contact-control group did not improve significantly in playing by ear in any of the keys. Both groups improved significantly in sight-reading in all three keys, p < .001. Analyses of qualitative and quantitative data from a researcher-authored attitude survey indicated that students in the experimental group perceived significant improvement in the new keys of Db and G, while students in the contact-control group did not perceive improvement. There were no statistically significant effects of music aptitude on performance achievement or attitude. Whether this was because the sample sizes were too small for the detection of effects, or whether there were no significant effects, is not known. The results of the study suggest that learning songs by ear may benefit student musicians. / Committee in Charge: Dr. Harry E. Price, Chair; Dr. Michael D. Bullis; Dr. Phyllis M. Paul; Dr. Steve Vacchi

Dans le chaos de la vie contemporaine, il faut de plus en plus apprendre à écouter ; écouter les gens, la nature, mais aussi les lieux, les espaces, leurs parois. Les murs n’ont pas que des oreilles : ils parlent. Ils parlent d’un récit in-ouïe de l’humanité, d’espaces vibrants et chuchotant. Dans le fracas de nos souvenances, il faut tendre l’oreille pour prendre conscience de notre univers, de nos espaces sonores. Ma pratique artistique a pour centre d’intérêt le son et la perception de l’espace sonore. Je crée des parcours, des méditations, des situations, des enregistrements de terrain, des témoignages et des récits qui sondent la ténuité du silence et la résonance des zones d’écoute. A l’écoute du bruit de fond et de l’écho qui remplissent les lieux, je me déplace pour tenter d’exposer la survivance des espaces sonores. Au cœur d’un monde sonore, plusieurs artistes contemporains engagent des dynamiques de renvoi de l’écoute et du corps. La survivance prend forme dans des traces, des résidus et des fossiles sonores, qui sont autant de témoignages de nos traversées que de paysages résistant a leur propre disparition. Pour entendre ces résidus sonores, pour voir la survivance des espaces sonores, je fais appel à des participants qui découvrent leur conscience auditive et performent le mouvement d’un corps-sonar, un mouvement en résonance entre le corps, l’espace et la collecte d’informations provenant du passé. Le corps‐sonar, qui entre en contact avec l’invisible, touche l’écho des espaces, révélant par le fait même notre imaginaire touché. Cette thèse raconte mon parcours dans l’univers du son, la traversée de ma pratique personnelle, de mes œuvres comme de mes récits. Elle donne également le rôle principal aux œuvres décrites et étudiées sous l’angle de la conscience auditive et de la survivance des espaces sonores. Elle traverse les créations de plusieurs artistes, de John Cage à Brandon Labelle, en passant par Pauline Oliveros et Alvin Lucier. Elle parcourt aussi la pensée de nombre de théoriciens, dont Didier Anzieu, Raymond Murray Schafer, Georges Didi-Huberman et Michel Serres. Écoutons-les, pour voir. / In the chaos of contemporary life, it is more and more necessary to learn how to listen: listening to people, to nature, but also to places, to spaces, to their walls (parois). Walls do not only have ears; they speak. They speak of an unheard (in-ouïe) about humanity, about vibrating and whispering spaces. In the clash of our remembering, it is necessary to stretch the ear in order to become conscious of our universe, or our aural spaces. My art practice focuses on sound and aural spatial awareness. I create sound journeys, meditations, situations, field recordings, testimonies and stories that explore the silence’s tenuousness and the resonance of listening areas. While listening to the background noise and the echo that fill in the places, I am moving in an attempt to expose the Surviving Aural Spaces. At the heart of a sonic world, various contemporary artists are engaged in dynamics of referencing (renvoi) to the listening and to the body. The surviving takes form in sound traces, sound residues and sound fossils, that all witness our journeys as well as landscapes resisting to their own disappearance. In order to hearing those sound residues, to seeing the surviving of aural spaces, I am making use of participants whom discover their auditory awareness and perform a sonar-body movement, a movement that resonates between the body, the space and the information collected from the past. The sonar-body contacts the invisible, touches the echo of spaces, thus revealing our touched imaginary. The present thesis relates my journey in the universe of sound, the crossing of my personal practice, of my works as well as my narratives. It also gives the leading role to the works, described and studied from the angle of auditory awareness and the surviving of aural spaces. It goes through the creation of various artists, from John Cage to Brandon Labelle, via Pauline Oliveros and Alvin Lucier. It also browses the thinking of many theorists, including Didier Anzieu, Raymond Murray Schafer, Georges Didi-Huberman and Michel Serres. Let’s listen to them, to see.

A substantial body of research points to the benefits of fitting hearing instruments that provides extended high frequency amplification. Most published research were done on adults or in controlled laboratory settings. It is therefore necessary for peadiatric audiologists to critically assess the effects that this extended high frequency amplification has on the individual child fitted with hearing instruments. A quantitative research method was selected to explore the possible correlations between extended high frequency amplification and the influence this extended high frequency amplification has on speech recognition and functional performance in children with mild to severe sensory neural hearing loss. A quasiexperimental design was selected. This design accommodated a one-group (single-system) pre-test versus post-test design. Baseline assessments were done and all participants were subjected to pre- and post-intervention assessments. Six participants were fitted with hearing instruments which provided extended high frequency amplification. A baseline assessment was done with current hearing instruments after which participants were assessed with the hearing instruments with extended high frequency amplification. Aided audiological assessments were done without the extended high frequencies after which participants were evaluated with the added high frequencies. Speech recognition testing and functional performance questionnaires were used to compare the outcomes obtained with and without the extended high frequency amplification. A t-test was used for hypothesis testing to determine if extended range amplification increased speech recognition abilities and functional performance, and if these increases were statistically significant. Results were varied where some participants performed better and some performed worse with the added extended range amplification during speech recognition testing and functional performances observed at home. These varied results were statistically insignificant. However, statistically significant evidence was obtained to indicate that extended high frequency amplification increased the functional performance observed at school. The study concluded that the paediatric audiologist should know the effect fitting hearing instruments capable of extended high frequency amplification have on speech recognition abilities and functional performances. Fitting hearing instruments with extended high frequency amplification should however be done with caution because not all children benefited from extended bandwidth amplification. This underlines the importance of following a strict evidence-based approach that incorporates objective and subjective assessment approaches. This will provide the paediatric audiologist with real world evidence of the success of the amplification strategy that is followed. / Dissertation (MCommunication Pathology)--University of Pretoria, 2012. / Speech-Language Pathology and Audiology / Unrestricted

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The mediatization of society has gradually led to an increasingly prominent presence of music in our daily lives, a process which Tobias Pontara and Ulrik Volgsten refer to as musicalization. One media platform that has experienced rapid growth in recent years is TikTok, which, with its one billion users, has become a hub for music discovery and distribution. TikTok's interface fosters a participatory culture, where users actively engage in musical challenges and memes. In this paper, I examine musical memes as a phenomenon and explore their influence on society's musicalization process. By examining TikTok's user interface and its self-promotion strategies, it becomes apparent that the platform aims to establish itself as a contemporary music medium. The app's features actively encourage users to utilize music and dances as a tool for storytelling and community-building. TikTok's rise in the media landscape has led to a mediatization process where other media adapt to TikTok's logic, and due to music being such a central part of the platform, it contributes to an increased presence of music in our day-to-day lives.

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This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development. / Art History, Visual Arts & Musicology / M. Mus.