A compreensão sobre o uso da voz pelo professor no ambiente e no contexto profissional deve ser considerada em ações sobre saúde vocal. Assim, o objetivo do presente estudo foi construir e analisar um protocolo de avaliação da voz e da expressividade de professores por meio de registros audiovisuais, que contemplem os aspectos da realidade desse profissional in loco e verificar se esses aspectos se relacionam ao gênero, ao tempo de docência e à carga horária semanal dos professores. Foram realizadas filmagens de 17 docentes em situação de aula durante 15 minutos. O Protocolo foi elaborado e desenvolvido com base na literatura e a parte I foi constituída por 10 parâmetros vocais, além de quatro parâmetros relacionados à expressão vocal e à expressão corporal. O desvio do padrão optimal de cada parâmetro foi registrado por três juízes em escala analógica visual de 100 mm e houve concordância satisfatória para a maioria dos atributos analisados. Os parâmetros vocais com valores médios de desvio mais acentuados foram grau global de desvio vocal (16,86 mm), tensão (13,37 mm) e entonação (13,31 mm). Dentre os parâmetros de expressividade, a expressividade geral foi considerada mais desviada pelos juízes (23,06 mm). Foram realizadas comparações dos resultados entre subgrupos de professores por meio do teste t e correlações por meio do teste Pearson. Não foi observada diferença entre homens e mulheres quanto aos parâmetros de voz, fala e expressividade avaliados. O grupo com mais de 20 anos de docência apresentou mais desvio do que o grupo com menos de 20 anos de profissão quanto aos parâmetros articulação de fala, tensão na região da cintura escapular, gesticulação e expressividade geral. Os professores com até 30 horas semanais apresentaram maior grau de desvio para os parâmetros entonação, gesticulação e contato visual do que os com mais de 30 horas. Houve correlação positiva entre o tempo de docência e articulação de fala, tensão na região da cintura escapular, gesticulação, contato visual e expressividade geral. A parte II do Protocolo foi constituída de uma lista de comportamentos do professor em sala de aula, os quais foram analisados por uma avaliadora e apresentados descritivamente. Durante o tempo de filmagem, o comportamento vocal que ocorreu com maior frequência foi o abuso vocal (de 0 a 24 vezes e média de 4,12) e os comportamentos relacionados ao ruído apresentados pelo maior número de professores foi o atender aos alunos que se manifestam oralmente (12) e competir com o ruído dos alunos presentes na aula (10). Os professores permaneceram a maior parte do tempo falando em pé (7,41 minutos) e andando (5,97 minutos). A construção e análise do protocolo permitiu concluir que os parâmetros de voz, fala e expressividade não se diferem entre homens e mulheres, mas sim quanto ao tempo de docência e carga horária semanal e que o Protocolo auxilia a salientar quais os parâmetros são mais importantes em termos de impacto no professor avaliado e, dessa forma, também a direcionar mais detalhadamente o processo de intervenção clínica pelo fonoaudiólogo. / Protocol of voice assessment and teachers habits and expressiveness by means of audiovisual records The comprehension on how the teacher uses the voice in their professional environment and context must be considered when leading actions towards vocal health. In this manner, the present study is aimed at structuring and analyzing a protocol of voice assessment and teachers expressiveness by means of audiovisual records which register actual life aspects of this professional in loco, as well as verifying whether they relate to gender, time of teaching activities, and weekly work load. 17 teachers were filmed for 15 minutes during their classes. The protocol was elaborated and developed based on literature, and Part I was constituted by ten vocal parameters, besides four parameters related to vocal and body expressions. The optimal pattern degree of each parameter was registered by three judges in visual analogical scale of 100mm, and there was satisfactory matching for most attributes analyzed. Vocal parameters presenting average values of larger degrees were global degree of vocal disorder (16.86 mm), tension (13.37 mm), and intonation (13.31 mm). Among expressiveness parameters, general expressiveness was considered by the judges the less deviated (23.06mm). Comparisons of results among sub-groups of teachers were made using the t test and co-relations by means of the Pearson test. It was not observed differences between men and women in what concerns voice, speech and expressiveness parameters evaluated. The group with more than 20 years of teaching career presented a stronger disorder than the group with less than 20 years of teaching in what concerns parameters of speech articulation, tension in the shoulder girdle muscles gesticulation, and general expressiveness. Teachers which worked more than 30 hours a week presented stronger degree of disorder in the parameters of intonation, gesticulation, and eye contact. There was positive co-relation between years of teaching career and speech articulation, tension in the shoulder girdle muscles, gesticulation, eye contact and general expressiveness. Part II of the protocol was constituted by a list of types of behavior that teachers presents during their classes, analyzed by an evaluator and descriptively exhibited. Throughout the filming phase, the vocal behavior more frequently noticed was vocal abuse (from 0 to 24 times, and average of 4.12) and types of behavior related to the noise presented by most teachers was answering to students which manifest themselves vocally (12) and compete with the noise made by students in class (10). For most part of the time, teachers were standing up (7.41 minutes) and walking around the classroom (5.97 minutes). The structure and analysis of the protocol enabled to infer that the parameters of voice, speech, and expressiveness do not differ among men and women, but from time of teaching career and weekly work load, and also that the protocol helps to highlight which parameters are paramount in terms of impact upon the evaluated teacher and, therefore, it also thoroughly directs the process of clinical intervention made by the speech-language pathologist.

As human beings our identities are formed from birth as we draw on our connections to people, places and the experiences we encounter in life. For young children, adults are crucial in directing these experiences, whether this is at home, school or further afield and therefore they play a key role in identity formation. In the world of education this means that decisions are made by adults based on what is considered best for young children in order to succeed in the future. This has the potential however to have both an enabling and a limiting effect on children's lives. In a climate where arts education funding is being cut and awareness of children's voice and rights is growing in strength, this PhD seeks to explore experiences of visual arts and perceptions of self-identity from a child's perspective with the aim of informing adult perspectives of arts education policy and practice in primary schools. The main argument focuses on children as autonomous identity curators continuously drawing on their curiosity of the world. By engaging them in dialogue about their experiences and lives, adults will be presented with an alternative perspective of the world that can be used to genuinely meet individual needs in young children. The research question 'How do visual art experiences interact with children's self-identity?' is addressed drawing on the principles of bricolage to discuss and analyse the issues through multiple lenses, including the work of Dewey, Bourdieu, and Giddens. A small-scale, multiple case-study, interpretivist approach has therefore been adopted focused on nine participants drawn from four classes from two schools in a Scottish city. Data were gathered during the academic session of 2016-2017 employing narrative inquiry and arts-informed, participatory methods and analysis. Each participant presented a uniquely different relationship with visual art, with some indicating that it was an integral part of their identity and others not so much. Adults, both at school and home, were key in informing this and in one sense the children lacked autonomy and agency in their visual art experiences. However they were autonomous when it came to determining the value of these experiences in their lives and in their identity, with each drawing on their curiosity of the world in different ways to determine this. Rather than create identity, they curated it. They presented a reasoned perspective of their experiences, and highlighted an awareness of aspects of visual art that in some cases came more from their experiences outside of school than from within. Thus at times the perspective was at odds with the intentions of the adult world, particularly from education and creative industries viewpoints; the children created their own meaning and learning from their experiences which were in contrast to the intended learning of the adult world. They also demonstrated a curiosity and open-mindedness in relation to visual art which was not necessarily developed fully by the adults in their lives. This PhD is therefore important because it demonstrates that children do have a degree of agency and autonomy in the formation of their identity and that they develop interests and knowledge that is independent of adult intentions regarding teaching and learning. It is a key piece of research which also presents the voices of children who are not currently represented in academic research in this depth. Finally it raises questions regarding the effectiveness and relevance of current art education practice in education and cultural institutions for children in the contemporary world.

This work is concerned primarily with the five seasons the castrato soprano, Giovanni Battista Velluti spent in London between 1825 and 1829. This time-place is unique in operatic history insofar as it sees the meeting of the new, exhaustively detailed, descriptive musical-critical journalism that emerged in the nineteenth century as it encountered the last operatic castrato in the last decade of his public performing career. Beginning with a historiographical overview of writings about the castrati, spanning from the early eighteenth century to the present day, the introduction establishes the methodological and thematic placement of this dissertation. Chapter 1 details the events of the last fifteen years of Velluti's career. These almost exactly overlap the period of his presence in English periodicals and the focus of the next chapter, the late, English, literary Romantic. The Romantics were deeply interested in music and were the principal intellectual creators of the music critical style that arose in the 1820s. Their cognition will be explored to the extent it can found utilized in writing about the voice, the otherness of disability and horror and fear of the other intruding upon the personal space of the self. Chapters 3 and 4 will proceed from literarily expressed cognitive understanding to the operatic voice of the 1820s: not only the castrato, but female singers, tenors and countertenors. While chapter 4 establishes the manner in which these voices functioned in their various, clearly audible registers, chapter 5 will then explore the meanings that each of these registers conveyed, especially regarding perceived gender and disability. These meanings are reinforced by excerpts of poetry and prose, fact and fiction, from England and the Continent. Chapter 5 examines the two ornamentational styles of Velluti, as they survive in published and manuscript sources from the 1810s and 1820s, comparing them to other singers of his time and reading them as literary texts. Velluti's highly literary rather than purely melodic ornamentation lends itself particularly to this cross-disciplinary approach. The work concludes with a short chapter concerning the end of Velluti's life and the last two castrati, one undoubted, one dubious, to appear on the English concert stage.

Cabaret is one of America's most unusual forms of art and entertainment as it juxtaposes and creatively interconnects comedy, song, dance, theatre, speech, and performance art, much like that of its bigger sister, American musical theatre. Many elements of the American musical are shared by cabaret, however, cabaret is unique since it generally occurs in more intimate (and sometimes more unusual) performance venues, such as restaurants, nightclubs, lobbies, halls, small theatres and private homes. With close proximity to the performer(s), cabaret audiences are often seated at tables where they eat and/or drink while an interlocutor (an interactive Emcee, M.C. or Master of Ceremonies) guides them through the performance. Along with the creative and engaging interaction of an interlocutor, the intimate venue of a cabaret performance creates a forum that allows and encourages the performers' energy to combine with the audience's as the "theatrical fourth wall" is constantly broken through. The synergistic energy generated by audience and performers creates an entirely new and unique performance phenomena, which is one of the most exciting, appealing and exceptionally unique qualities of cabaret. Since a small body of scholarship exists on American cabaret as a unique genre, this study provides a thorough analysis and detailed dissection of cabaret both historically and musically. Discussed first is cabaret's origins, life and development by way of a historical narrative gleaned from existing resources on cabaret. Also tied into this narrative is information on other types of performance and music closely related to cabaret, such as Victorian music halls, concert saloons, dance halls, speakeasies, nightclubs and supper clubs, burlesque, vaudeville, and Tin Pan Alley. Next, this essay identifies and explores the "physical" elements that compose cabaret such as the framework of songs, the connective fabric of interlocking dialogue, songs, and musical numbers, the final look of the performance and the overall sound-blend of the performance. The essay progresses into a more detailed exploration of cabaret by identifying and discussing its "visceral" elements such as basic human nature and intimate contact via the human voice. Likewise, musical examples are presented that illustrate musical elements such as the "composer's hook," elicitation of body movement, patter songs and types of accompaniments supportive of the melody. Finally, musical patterns are presented that are analogous to motion, conflict, resolution and circular arcs of context such as syncopated patterns, dotted rhythms, swinging eighth notes, tied-note figures over bar lines, "chromatic toggling" and repeated-against-syncopated patterns. Consequently, all these musical elements in cabaret literature prompt human beings into movement in all three areas of body, mind and spirit. This essay then identifies and delineates several possible types and combinations of cabaret shows, such as formal, improvisational, musical revue, vaudeville-style, stand-up comedy, karaoke, female/male impersonator (drag show), "streetmosphere," flash mob, piano bar/lounge, open-mic., concert-style, aleatory and a mixture of any and all types. Finally, the most important contribution to cabaret scholarship is this essay's comprehensive resource on how to create and develop a cabaret show with specific suggestions for themes, music, underscoring, and scripted dialogue. In addition, this essay presents an example of an entire original cabaret show in order to clarify the findings of this study, and encourage further research, creation and composition, practice and prolongation of the genre of American cabaret.

In this study, five deaf individuals with cochlear implants were presented with noise that was manipulated systematically, to test the hypothesis that deaf persons using cochlear prostheses will demonstrate intensity regulation of their vocal output that is more appropriate when their implants are turned on than when turned off. The intensity of their vocal output was measured to determine if they demonstrated a Lombard response, that is, a systematic increase in vocal intensity with increasing intensity of background noise. Results from the study were mixed. With implants on, three subjects made systematic increases in vocal intensity with increasing background noise, while two subjects did not make such increases. In addition, the relation between intensity of vocal output and background noise was closer to the normal function for the three subjects who demonstrated a Lombard response. The "normal function" was defined by measuring the vocal intensity responses of five normal hearing control subjects who performed the same tasks as the experimental subjects.

Research shows young singers are entering the professional world without the necessary skills to succeed. Students graduate from their respective colleges, yet lack experience in working with an orchestra, knowledge of dramatic or character analysis, or the stamina to maintain a vigorous rehearsal schedule. Incorporating character analysis skills along with language and dramatic training into the weekly private lesson will ensure the removal of the gaps in the curriculum. Through complete role study, young singers will have the ability to practice and refine their skills once they are vocally mature enough to perform an operatic role. The role of Sophie in Der Rosenkavalier by Richard Strauss is a challenging role requiring musical and dramatic skill. Students can examine and perform Strauss Lieder identifying similarities in the compositional style, dramatic elements, and musical requirements to prepare for the singing of the role of Sophie. This paper uses practical examples of various Strauss Lieder to demonstrate the pedagogical similarities between the role of Sophie and Strauss' song compositions.

Scientific knowledge of vocal function and vocal health has increased greatly in recent decades, with new technology capable of displaying the larynx in operation, measuring muscular effort, and acoustically analysing vocal sound. This research addresses five key questions: 1/. What is the current body of voice science knowledge relevant to singing? 2/. What do singing teaching practitioners currently know about the voice? 3/. How do practitioners' understandings of voice influence their teaching of vocal techniques? 4/. How does singing teaching in Australia relate to bel canto precepts? 5/. How does singing teaching in Australia relate to voice science? Data was collected from surveys conducted to answer these questions. Analysis of survey data indicates that practitioners see themselves less as teachers than as singers who teach, and that this role perception carries values that moderate voice knowledge and approaches to teaching. The implications of this conclusion for the professional training of singing teachers in Australia are discussed and suggestions made for further research. In particular, voice scientists and singing teachers need to collaborate more actively in research. Scientific research into singing would have broader application if a model appropriate to both male and female voices were utilised and if larger and better chosen selections of experimental subjects were used. Further research is needed into how the physical skills of singing are best imparted to students / Doctor of Philosophy (PhD)

A research area that has recently gained great interest is the development of network architectures relating to the tracking of wireless VoIP devices. This is particularly so for architectures based on the popular Session Initiation Protocol (SIP). Previous work, however, in this area does not consider the impact of combined VoIP and tracking on the capacity and call set-up time of the architectures. Previous work also assumes that location information is always available from sources such as GPS, a scenario that rarely is found in practice. The inclusion of multiple positioning systems in tracking architectures has not been hitherto explored. It is the purpose of this thesis to design and test SIP-based architectures that address these key issues. Our first main contribution is the development of a tracking-only SIP based architecture. This architecture is designed for intermittent GPS availability, with wireless network tracking as the back-up positioning technology. Such a combined tracking system is more conducive with deployment in real-world environments. Our second main contribution is the development of SIP based tracking architectures that are specifically aimed at mobile wireless VoIP systems. A key aspect we investigate is the quantification of the capacity constraints imposed on VoIP-tracking architectures. We identify such capacity limits in terms of SIP call setup time and VoIP QoS metrics, and determine these limits through experimental measurement and theoretical analyses. Our third main contribution is the development of a novel SIP based location tracking architecture in which the VoIP application is modified. The key aspect of this architecture is the factor of two increase in capacity that it can accommodate relative to architectures utilizing standard VoIP. An important aspect of all our tracking architectures is the Tracking Server. This server supplies the location information in the event of GPS unavailability. A final contribution of this thesis is the development of novel particle-filter based tracking algorithms that specifically address the GPS intermittency issue. We show how these filters interact with other features of our SIP based architectures in a seamless fashion.

Thesis (M.S.)--Virginia Polytechnic Institute and State University, 1988. / Vita. Abstract. Includes bibliographical references (leaves 48-53). Also available via the Internet.

Over the last few decades increasing rates of single mother households in the United States have triggered a national alarm over the effects of father absence on society. Father absence has been linked specifically to many of the problems plaguing black communities in the United States (e.g. poverty, low educational attainment, etc.) and as a result community and political leaders alike have consistently promoted responsible fatherhood practices as a way to address them. Although responsible fatherhood has received, in this context, a considerable amount of social attention, this attention has come intertwined with considerable political and moral rhetoric at all levels, making an idea invested with a wide variety of often-conflicting meanings and interests. <br>Given the paucity of academic studies giving voice to black fathers at the metaphoric "front line" of the national responsible fatherhood effort, this author used a variation of The Listening Guide (Gilligan 2003) to capture the narratives of four black fathers volunteering in a local responsible fatherhood program. Critical Social Representations Theory was used to frame the interaction between participants and the social contexts within which they are embedded, paying particular attention to participants' positioning in regard to social representations of race and gender. The widely different understandings of fatherhood present within the results point to fatherhood as a highly dynamic concept. Responsibility, on the other hand, was understood primarily as father presence, a middle class ideal that I argue is problematic given the realities of poor black fathers. Finally, all fathers tended to resist ideas of race as essence, even if in regard to gender all fathers adopted hegemonic positions endorsing views of gender difference as essential and as grounded in biology. Overall, results reveal complex portrayals of black fathers and their lives in communities where race, poverty, incarceration, drugs, violence, or family court all pose additional challenges to responsible fatherhood. / McAnulty College and Graduate School of Liberal Arts / Clinical Psychology / PhD / Dissertation