Orientador: Eleonora Cavalcante Albano / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T18:11:17Z (GMT). No. of bitstreams: 1 Pessotti_AntonioCarlosSilvano_D.pdf: 3351765 bytes, checksum: dfc6656e57053e749ba0a5598827d29e (MD5) Previous issue date: 2012 / Resumo: Neste estudo observam-se os efeitos decorrentes do treinamento e da prática vocal profissional, tendo por base três hipóteses que evidenciem semelhanças e diferenças entre fala e canto: 1) a fala é diferente entre grupos, 2) o canto é semelhante entre grupos, 3) fala e canto possuem semelhanças e diferenças influenciadas por formação musical e treinamento. Foi escolhida a canção Conselhos (Carlos Gomes), cujo texto foi lido e cantado cinco vezes por três grupos, cada qual com cinco informantes: cantoras solistas (SOL), cantoras coralistas (COR) e locutoras de rádio (LOC). Os dados obtidos da partitura da canção foram analisados com procedimentos não paramétricos. Os dados acústicos das gravações de fala e canto (com e sem acompanhamento) foram analisados com procedimentos paramétricos. As análises não-paramétricas mostraram que a partitura musical mantém as restrições linguísticas, sem perda da função fonológica nem da pertinência linguística. As diferenças observadas na análise da duração de fala corroboram a primeira hipótese. Tais diferenças sugerem influência de treinamento, distinção dos grupos com prática profissional, e manutenção da hierarquia prosódica. A gradiência entre os grupos na análise da entoação da fala separa cantoras das locutoras, e indicam influência do treinamento vocal profissional. A análise das estimativas de espaço vocálico evidenciou as tônicas, usadas pelos grupos como marcadores de expressividade. A intensidade na fala ressaltou locutoras e solistas como grupos com prática vocal profissional. As solistas se destacam na fala com valores elevados dos formantes e proximidade tonal com a partitura, fato que poderia explicar a tendência das cantoras com maior prática e treinamento em ler um texto próximo ao canto. A análise da duração global no canto sem acompanhamento mostra semelhança entre as cantoras que reflete a segunda hipótese, referente à formação musical. As diferenças de duração das variáveis linguísticas no canto refletem a influência da prática e do treinamento. A análise da entoação indicou que as coralistas atrelam a afinação à pulsação rítmica, e, o acompanhamento facilita essa tarefa. A análise das estimativas de espaço vocálico no canto mostrou áreas semelhantes entre os grupos. A distinção entre eles aparece nas tônicas, menos centralizadas pelas solistas, e, ainda, com intensidade e formantes mais altos. A comparação entre dados acústicos e estimativas da partitura no canto mostrou as solistas com entoação próxima à partitura. As tônicas foram melhor investigadas na fala, no canto, e entre as modalidades. Na fala, as diferenças entre os grupos são explicadas pela formação, pois solistas e locutoras são treinadas para produzir maior abertura oral. As consequências articulatórias seriam o abaixamento de laringe e redução do espaço faríngeo. A investigação das tônicas no canto mostrou formantes elevados para as solistas, implicando em estiramento labial (ou elevação de laringe, prática não recomendada pela pedagogia do canto). A comparação entre modalidades indicou influência da proficiência musical ou do treinamento vocal, em busca de postura vocal confortável. Esses resultados na fala e no canto indicam possível transferência gestual do canto para a fala, e vice-versa, tal como ocorre na aquisição de segunda língua. Tal fenômeno resultaria de adaptação biomecânica, coerentemente com a Fonologia Gestual / Abstract: The aim of this study is to observe the effects of training and professional voice practice, the basis of three scenarios that show similarities and differences in spoken and sung productions: 1) speech is different among groups, 2) singing is similar in the two groups of singers, 3) speech and singing have similarities and differences influenced by musical education and training. Conselhos, a song by Carlos Gomes, was chosen to constitute the corpus, whose text was read and sung five times by three groups, each with five subjects: solo singers (SOL), choir singers (COR) and news broadcasters (LOC). The data obtained from the musical score were analyzed with nonparametric procedures, and the data from acoustic recordings of speech and singing (with and without accompaniment) were analyzed using parametric procedures. Non-parametric analysis showed that the musical score maintains language restrictions, without loss of phonological function or linguistic relevance. Differences observed in the analysis of spoken duration support the first hypothesis. Such differences suggest the influence of training distinctions based on professional practice and maintenance of the prosodic hierarchy. Analysis of speech intonation shows gradient performance among groups, and separates singers from broadcasters, as well as indicate the influence of professional vocal training. The analysis of vowel space estimations shows the stressed vowels as expressiveness markers used by both groups. The intensity in speech distinguishes broadcasters and soloists such as groups with professional vocal practioneers. The soloists stand out with high values in intensity and formants. The way of keeping close to the score may explain the tendency of singers with more practice and training to read a text with an intonation that reminds the melody. Analysis of overall duration in singing without accompaniment shows that the similarity between groups reflects the second hypothesis, referring to musical training. Differences in duration of the linguistic variables in singing reflect the influence of practice and training. The analysis indicated that pitch singers' intonation ties the musical score, and accompaniment makes it easy. The analysis of vowel space area estimations in singing showed similar between groups. The distinction between them appears in the tonic vowels, more centralized by the soloists, and with higher intensity and formants. The comparison between acoustic data and estimations of the musical score in singing showed the soloists with similar pitch to the score. The stressed vowels were investigated in speech, singing, and between modalities. In speech, the differences between groups are explained by their background, as soloists and broadcasters are trained to open their mouth widely. The articulatory consequences would be the larynx lowering and reduction of pharyngeal space. Research results indicate the stressed vowels in singing have higher formants for soloists, resulting in stretching (or lifting of the larynx). The results of these comparisons indicate the influence of music proficiency or vocal training seeking a comfortable vocal space. These results, observed in the speech and singing, suggest gestural transference between singing to speech, and vice-versa, as occurs in second language acquisition. This phenomenon could be the result of bio-mechanical adaptation, consistent with the Gestural Phonology / Doutorado / Linguistica / Doutor em Linguística

The present study is a qualitative and quantitative interdisciplinary investigation of young children's vocal development. It investigated how vocalizations of young children mutate in relation to the children's linguistic and musical development, and the contexts in which these developments take place. Eight girls age eighteen to thirty-eight months participated in this study. Four spoke Chinese and four spoke English as their first language. Each child was visited every four to six months over a 42 month period. Acoustic analyses were performed on recorded vocal responses, and three judges classified the vocalizations and provided perceptual evaluation. It appears that young children have established communicative pitches that are associated with different forms of vocalizations by age two. All children consistently sang with higher fundamental frequencies than they used for speaking, while other forms of vocalization appear to be positioned consistently between singing and speaking. Both the mean fundamental frequency data and the qualitative data suggest some possible differences in vocal pitch behaviours across language. Chinese bilingual children made comparatively less but stable distinction between their speech and song; in their acoustic intermediate vocalizations however, the boundary between speech and song was "fuzzy". English monolingual children made increasingly clearer and wider acoustical distinctions between their speech and songs; their contextual intermediate vocalizations were made up of intermittent singing and speaking. The intermediate vocalizations observed in the present study appear to confirm that singing and speaking are two vocal phenomena that exist along a continuum. They call into question the entire concept of differences between singing and speaking both acoustically and contextually. These intermediate vocalizations offer a rich account of the linguistic and musical development of a child; they suggest that while first spoken language appears to affect vocal development, a child's non-speech auditory environment is also crucial to the understanding of her vocal behaviours. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

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This dissertation concerns the computational modelling of early life development of music perception and cognition. Experimental psychology and neuroscience show results that suggest that the development of musical representations in infancy, whether concerning pitch or rhythm features, depend on exposure both to music and language. Early musical and linguistic skills seem to be, therefore, tangled in ways we are yet to characterize. In parallel, computational modelling has produced powerful frameworks for the study of learning and development. The use of these models for studying the development of music information perception and cognition, connecting music and language still remains to be explored. This way, we propose to produce computational solutions suitable for studying factors that contribute to shape our cognitive structure, building our predispositions that allow us to enjoy and make sense of music. We will also adopt a comparative approach to the study of early development of musical predispositions that involves both music and language, searching for possible interactions and correlations. We first address pitch representation (absolute vs relative) and its relations with development. Simulations have allowed us to observe a parallel between learning and the type of pitch information being used, where the type of encoding influenced the ability of the model to perform a discrimination task correctly. Next, we have performed a prosodic characterization of infant-directed speech and singing by comparing rhythmic and melodic patterning in two Portuguese (European and Brazilian) variants. In the computational experiments, rhythm related descriptors exhibited a strong predictive ability for both speech and singing language variants' discrimination tasks, presenting different rhythmic patterning for each variant. This reveals that the prosody of the surrounding sonic environment of an infant is a source of rich information and rhythm as a key element for characterizing the prosody from language and songs from each culture. Finally, we built a computational model based on temporal information processing and representation for exploring how the temporal prosodic patterns of a specific culture influence the development of rhythmic representations and predispositions. The simulations show that exposure to the surrounding sound environment influences the development of temporal representations and that the structure of the exposure environment, specifically the lack of maternal songs, has an impact on how the model organizes its internal representations. We conclude that there is a reciprocal influence between music and language. The exposure to the structure of the sonic background influences the shaping of our cognitive structure, which supports our understanding of musical experience. Among the sonic background, language's structure has a predominant role in biasing the building of musical predispositions and representations. / Esta tesis aborda la modelización computacional de algunos fenómenos de la percepción y cognición de la música durante el período de desarrollo en la primera infancia. La Psicología experimental y la Neurociencia muestran resultados que sugieren que el desarrollo de las representaciones del ritmo o de la altura musicales durante la infancia son dependientes de la exposición tanto a la música como al lenguaje de las culturas en las que se nace y crece. La capacidad musical y lingüística, durante los primeros años de desarrollo, están inter-relacionadas de formas que aún no ha sido posible caracterizar. En paralelo, las herramientas computacionales proporcionan un marco teórico y empírico eficaz para el estudio del aprendizaje y el desarrollo. El uso de los modelos computacionales para estudiar el desarrollo de la percepción y la cognición de información musical, conectando la música y el lenguaje, todavía queda por explorar. Así, nos proponemos producir soluciones computacionales adecuadas para el estudio de los factores que contribuyen a dar forma a nuestra estructura cognitiva y a la construcción de las predisposiciones que nos permiten disfrutar y dar sentido a la música. También adoptamos una perspectiva comparativa para la investigación que, englobando la música y el lenguaje, busca sus posibles interacciones y correlaciones. Primeramente, hemos abordado la representación de la altura tonal (absoluta vs. relativa) y sus relaciones con el desarrollo. Las simulaciones computacionales han permitido observar que el tipo de codificación utilizada ha influido en la capacidad del modelo para efectuar correctamente una tarea de discriminación, lo cual sugiere una relación entre el aprendizaje y el tipo de información de altura que se utiliza. Seguidamente, se ha realizado una caracterización prosódica del habla y del canto dirigidos al bebé, mediante la comparación de patrones rítmicos y melódicos en dos variantes de Portugués (Europeo y Brasileño). En los experimentos computacionales, los descriptores relacionados con el ritmo han exhibido una fuerte capacidad predictiva para el habla y canto, en tareas de discriminación de variante de lenguaje, siendo observados diferentes patrones rítmicos para cada variante. Se revela que la prosodia del entorno sonoro de un bebé es una fuente rica de información y que el ritmo es un elemento fundamental para la caracterización de la prosodia del lenguaje y las canciones de una cultura. Por último, se construyó un modelo computacional basado en el procesamiento y representación de información temporal para explorar cómo los patrones prosódicos temporales del habla de una cultura específica influyen en el desarrollo de las representaciones y predisposiciones rítmicas. Las simulaciones muestran que la exposición al ambiente sonoro circundante influye en el desarrollo de las representaciones temporales y que la estructura del entorno a que se esta expuesto, específicamente, la falta de canciones maternales, tiene un impacto sobre la forma como el modelo organiza sus representaciones rítmicas internas. Se concluye que existe una influencia recíproca entre la música y el lenguaje. La exposición a la estructura del entorno sonoro influye en la formación de la estructura cognitiva, que sustenta la comprensión de la experiencia musical. De entre todos los “inputs” del entorno sonoro, la estructura del lenguaje tiene una influencia predominante en la construcción de predisposiciones y representaciones musicales.

This dissertation examines the role of speech inflection in the composition of melodies of American musical theatre and investigates how composers approached speech inflection in their work throughout this genre's history. Through analysis of songs and interviews with composers, this dissertation investigates the relevance of speech inflection in the various styles of composition existing on Broadway. The main focus of musical theatre compositions, especially post Rodgers and Hammerstein's musical Oklahoma, is to move the plot along through songs. Therefore, the delivery of the text must be of ultimate consideration in the writing of modern musicals. A well-written speech-melody facilitates the process of a speech-melody-interpretation, which will result in the delivery of lyrics with an understandable, natural sounding quality. This investigation happens through a chronologic evaluation of the relevance of speech inflection during each of the distinct phases on Broadway, as well as an examination of the approach to writing with a speech-melody focus of each individual composer throughout history. This study explores the importance of speech inflection in American musical theatre songwriting focusing on a speech-melody approach to composition. / by Ana Flavia Zuim. / Vita. / Thesis (Ph.D.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

Yim-chi Ho. / "Running head: Effects of music training on memory of children." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 51-65). / Abstracts in English and Chinese. / ABSTRACT (English Version) --- p.ii / ABSTRACT (Chinese Version) --- p.iii / ACKNOWLEDGEMENTS --- p.iv / TABLE OF CONTENTS --- p.v / LIST OF TABLES --- p.vi / LIST OF FIGURES --- p.vii / Chapter CHAPTER I - --- INTRODUCTION --- p.1 / Chapter CHAPTER II - --- METHOD --- p.13 / Chapter CHAPTER III - --- RESULTS --- p.19 / Chapter CHAPTER IV - --- DISCUSSION --- p.42 / REFERENCES --- p.51

Reading is one of the most important skills (although a complex cognitive activity) a learner has to master during the early years of schooling. The reading process involves elements of a learner’s psychological, physical, linguistic, cognitive, emotional and social worlds. Despite the fact that all learners have to be able to read, there is an increasing awareness among professionals of the developmental and educational implications of reading difficulties with school-going learners world wide. Reading is a critical tool for the mastery of all other subjects a learner will meet and one of the best predictors of long-term learning achievement. Therefore, the need for support must be considered a priority area. After a thorough investigation and literary study, it is evident that the effective identification of learning difficulties needs a thorough understanding. Educators must realise that a given learner, who responds favourably to one instructional system, may respond very unfavourably to another, because learners are all unique individuals. To be able to combine speech sounds in a way that recipients can understand the message, learners have to be ready to develop an understanding of phonology, morphology and syntax, therefore maturation must always precede learning and, in the context of this study, emergent literacy must precede reading. Maturation is characterised by a fixed order of progression wherein the pace may vary, but not the sequence. The creative use of language is entirely dependent on the ability to assemble simple building blocks of sound into the complex structure we call sentences.It is widely accepted that music may be used to promote language development and the most crucial aspect in both music and language development is the perception of sound and the core in music and language are the ability to listen. The aim of this study was to investigate the use of music and related activities as part of an intervention strategy to improve reading skills, such as phonics, of learners who have reading difficulties. The researcher proved that a wellplanned intervention method and learning strategy through music activities may be used to develop the reading skills in learners who have reading difficulties. / Educational Studies / D. Ed. (Inclusive Education)

MA, Faculty of Humanities, University of the Witwatersrand, 2012 / This research-report presents a theoretical exploration of musical encoding which has its basis in general semiotic theory. By examining what this reveals about the problematic and mysterious issue of music’s meaning, I argue that the most visceral and direct form of it is found in the manner in which the composer shapes a certain kind of temporal experience (erlebnis) which is engendered by the music itself. This reveals that sensations of goal-directed movement, closure, tension and release are shaped in a phenomenological way against a background of continuity that is established by metrical cyclicity and phrasal periodisation. As a result, the interpretation of certain kinds of accumulative structural effects generated by the gestural (rhythmic and melodic/harmonic) inflections of the temporal and intonational planes become meaningful in a rhetorical, affective (affekten) and topical sense. A study of Ngqoko (Xhosa) overtone-music, as a case study into African indigenous music (as opposed to the examples cited of Western art music), shows that an intensification of the relationships between pitch and rhythm that exist in speech-tone results in the formation of melody and a culturally embedded vocabulary of intonations. I argue that this resultant edifice exists in the music of most cultures and that this ultimately serves as the basis of musical encoding. Therefore musical meaning develops in ways that are completely intrinsic to music.

Reading is one of the most important skills (although a complex cognitive activity) a learner has to master during the early years of schooling. The reading process involves elements of a learner’s psychological, physical, linguistic, cognitive, emotional and social worlds. Despite the fact that all learners have to be able to read, there is an increasing awareness among professionals of the developmental and educational implications of reading difficulties with school-going learners world wide. Reading is a critical tool for the mastery of all other subjects a learner will meet and one of the best predictors of long-term learning achievement. Therefore, the need for support must be considered a priority area. After a thorough investigation and literary study, it is evident that the effective identification of learning difficulties needs a thorough understanding. Educators must realise that a given learner, who responds favourably to one instructional system, may respond very unfavourably to another, because learners are all unique individuals. To be able to combine speech sounds in a way that recipients can understand the message, learners have to be ready to develop an understanding of phonology, morphology and syntax, therefore maturation must always precede learning and, in the context of this study, emergent literacy must precede reading. Maturation is characterised by a fixed order of progression wherein the pace may vary, but not the sequence. The creative use of language is entirely dependent on the ability to assemble simple building blocks of sound into the complex structure we call sentences.It is widely accepted that music may be used to promote language development and the most crucial aspect in both music and language development is the perception of sound and the core in music and language are the ability to listen. The aim of this study was to investigate the use of music and related activities as part of an intervention strategy to improve reading skills, such as phonics, of learners who have reading difficulties. The researcher proved that a wellplanned intervention method and learning strategy through music activities may be used to develop the reading skills in learners who have reading difficulties. / Educational Studies / D. Ed. (Inclusive Education)

No description available.