Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Jornalismo, Florianópolis, 2016. / Made available in DSpace on 2016-10-18T03:04:38Z (GMT). No. of bitstreams: 1 342530.pdf: 1083975 bytes, checksum: 55d38e5e35257471b42ed20b6b37062c (MD5) Previous issue date: 2016 / A pesquisa teve como objetivo principal correlacionar os elementos que compõem o perfil vocal de telejornalistas com os fatores de credibilidade jornalística para compreender os processos de construção da credibilidade em telejornais. Para tanto, foi traçado o perfil vocal de repórteres que atuam em telejornais noturnos de Florianópolis: RBS Notícias, SBT News, Band Cidade e RIC Notícias, para correlacionar os resultados vocais com os fatores de credibilidade jornalística. Parte-se do pressuposto de que a voz é um fator que interfere na aquisição da credibilidade na mídia televisiva, pois diferentes tipos de vozes causam diferentes reações e emoções aos telespectadores, podendo influenciá-los a acreditar ou não no que estão assistindo. A pesquisa analisou as vozes dos profissionais a partir de reportagens veiculadas pelos telejornais no período entre o dia 24 e 31 de agosto de 2015, totalizando 42 telejornalista e 122 reportagens. O processo de análise está dividido em três etapas: a) a avaliação perceptivo-auditiva das vozes dos profissionais de TV durante as notícias selecionadas, a fim de conhecer o perfil vocal dos telejornalistas; b) a pesquisa teórica sobre o conceito de credibilidade e seus fatores; c) a correlação dos achados vocais com os estudos sobre credibilidade jornalística. A dissertação categorizou os elementos de credibilidade em quatro grandes grupos: Imparcialidade, Precisão, Completitude e Competência. Como resultado da correlação, encontrou-se que a Imparcialidade é influenciada pelas pausas e ênfases; a Precisão está relacionada com a assertividade, ritmo, velocidade e articulação do telejornalista; a Completitude está ligada à concordância comunicativa, impacto inicial e ruídos; e a Competência sofre influência do planejamento, loudness, pitch, ressonância, respiração e pela competência comunicativa geral dos repórteres. A pesquisa mostrou que a maioria dos telejornalistas e os quatro telejornais pesquisados não apresentam perfis vocais que transmitam o efeito de credibilidade.<br> / Abstract : The research?s principal objective is to correlate the elements of the vocal profile with the factors of journalistc credibility to understand the processes of construction of credibility in television news. The dissertation studied the vocal profile of Florianópolis television news reporters from RBS Notícias, SBT News, Band Cidade and RIC Notícias and correlated the vocal results with the journalistics credibility factors. It had the presupposition that voice is one of those factors of credibility that interfere in the construction of credibility in the telejournalism, as different voices causes different reactions and emotions in televiewers and can influence them to believe or not the news they?re watching. The study analyzed the period between August 24 and 31 of 2015, totalizing 42 reporters and 122 reports. It was divided into three steps: a) the auditory-perceptive evaluation of reporters voice during the selected news; b) theoretical research on the concept of credibility and its factors; c) correlation of vocal elements with credibility factors. The dissertation categorized the credibility?s elements in four big groups: Fairness, Accuracy, Completeness and Competence. As a result of the correlation, it was found that Fairness is influenced by pauses and emphases; Accuracy is related to assertiveness, rhythm, speed and articulation of television journalist?s voice; Completeness is related to the communicative concordance, initial impact and noise; and Competence is influenced by planning, loudness, pitch, resonance, breathing and general communicative competence of reporters. The research has shown that most TV journalists and the four news programs surveyed do not have vocal profiles that transmit the effect of credibility.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2016. / Made available in DSpace on 2017-02-14T03:03:19Z (GMT). No. of bitstreams: 1 343954.pdf: 3601426 bytes, checksum: 361a26925f13314c33ae5959a25eeb1e (MD5) Previous issue date: 2016 / O presente estudo visa promover uma análise da condição enunciativa da voz feminina tal como articula-se no moteto, gênero musical polifônico medieval. O moteto consistia, originalmente, em canções profanas incorporadas à liturgia religiosa. Proponho, então, uma leitura das práticas discursivas e das formas de subjetivação que aparecem na normatividade dos comportamentos ligados ao feminino vocalmente performatizado no moteto. A voz feminina é abordada através da maneira como insere-se em um conjunto de normas de comportamento individual em relação às práticas das quais esse canto faz parte. Levando em conta a dimensão polifônica do moteto, trato de explicitar pontos de tensão no deslocamento da voz. O objetivo principal é focalizar, nas enunciações vocais do feminino, o canto amoroso no limiar entre o profano e o sagrado. Em síntese, a questão é interrogar em que medida a voz feminina, ressoada nos motetos, indica certo modo de constituição do sujeito cantante. Dessa forma, a partir das performances vocais verificadas no moteto, busco traçar uma genealogia da voz feminina como ponto de subjetivação.<br> / Résumé : Cette étude vise à développer une analyse de la condition énonciative de la voix féminine tel comme elle articulée dans le motet, style musical polyphonique médiéval. Ce répertoire se composait, à l'origine, dans les chansons profanes incorporés à la liturgie religieuse. Je propose une lecture des pratiques discursives et des formes de véridiction qui apparaissent dans la normativité des comportements liés à la performatization vocale du motet des voix féminines. La voix féminine est conçu à travers la manière qui est inséré dans un ensemble de normes de comportement individuel concernant les pratiques dont ce chant fait partie. Tenant en compte la dimension poliphonique du motet, je tente d?expliquer les points de tension dans les déplacements de la voix. L?objective principal est de focaliser, dans les énoncés vocales du féminin, le chant amoureux sur le seuil entre le profane et le sacré . En résumé, la question est de se demander dans quelle mesure la voz féminine résonné dans le motets indique un certain type de constitution du sujet qui chant. Ainsi, a partir des performances vocales qu?on voit aux motets, je cherche à retracer une généalogie de la voix féminine comme point de subjectivation.

The aim of the research was to find out about intonational strategies in the performance situation. The singing voice was chosen as the appropriate subject for experimental work, due to its superior capability to define pitch as compared to other musical instruments. Ensemble singing was also required, as harmonic context may be important in the clarification of the issue. Chapter One, as an introduction to the subject, considers tuning systems and temperaments and briefly reviews the experimental literature on the subject. It also states the aim of the research. Chapter Two focuses on the theoretical aspects of the research, considering some relevant phenomena of psychoacoustics to the legacy of tuning systems and temperaments. Some thoughts on intonational strategies, reference frequencies and flexible temperament as desirable components of a sound intonational strategy are elaborated. An analysis of the motet Ave Verum Corpus, by Mozart, as the chosen music piece for experimental work is carried out. Chapter Three deals with the delineation of experimental procedures for the evaluation of the intonational strategies adopted by singers in the performance situation. The recording sessions environment and the technical tools utilised in the experiments are described, as well as the technical procedures to carry out the measurements of the acquired data. As strict criteria had to be met regarding the performance situation, simultaneity of performance and the need to acquire individual data for analytical work, electrodes were attached to the neck of the singers, near the larynx, in order to carry out the recording sessions with the help of Laryngograph devices. Analytical issues are also considered in the chapter, namely technical problems, errors and mistakes, as well as the implementation of intonational analyses and reference frequency calculations. Chapter Four presents a discussion on data measurements procedures, including guidelines for the determination of errors and mistakes and their symbology. Four recording sessions were carried out; two of them fulfilled all the necessary requirements. The singers’ results are presented in chronological order: firstly, a quartet of singers from the Royal Academy of Music, and secondly, sixteen of the BBC Singers. Reference frequency results are also presented and discussed. Chapter Five deals with the intonational strategies as defined by the experimental work. It was discovered that no theoretical model was followed throughout the music piece, but instead intonational procedures were guiding the singers while performing. Also, the two groups adopted different intonational strategies regarding reference frequencies. Alongside with the main issues of the research – intonational strategies regarding pitch behaviour and reference frequencies, pitch equalization within a choir section and text-related issues rank amongst the most important topics that have been revealed by the results. Chapter Six comments on the new concepts brought about by the research. It also delineates some possibilities for future research work on the subject and related issues, especially vibrato singing, text articulation and absolute pitch. The Appendices contain images of the experimental work, diagrams of studio disposition for recording sessions, and analytical scores alongside with tuning tables that make it possible to represent graphically analytical values. They also provide means of performing acoustical replications of the results of analysis and singers. The core of the appendices volume is formed by the results of the singers’ fundamental frequencies results and their graphical representation.

Orientador: Prof. Dr. Danilo Ramos / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba, 25/02/2015 / Inclui referências : f. 66-70 / Resumo: A comunicação emocional se refere a situações em que o intérprete tem a intenção de comunicar uma emoção específica ao ouvinte. Quando esta comunicação acontece, ocorre a acurácia emocional. O feedback cognitivo (CFB) é uma ferramenta que consiste no emprego de pistas acústicas por parte do intérprete direcionadas ao ouvinte para a aquisição da acurácia emocional, conforme o Expanded Lens Model. O CFB tem se mostrado uma ferramenta importante no aprimoramento da comunicação emocional entre intérprete e ouvinte no repertório erudito europeu. Este trabalho tem como objetivo verificar a influência do CFB sobre a acurácia da comunicação emocional da voz cantada no repertório brasileiro. O estudo foi dividido em duas etapas: na primeira (encoding), três cantores barítonos gravaram performances de uma peça musical genuinamente brasileira em duas condições: voz falada e voz cantada. Para cada condição, foram gravadas três interpretações: não intencional (leitura do texto ou interpretação cantada sem a intenção de comunicar emoções), intencional antes do CFB (leitura do texto ou interpretação cantada da peça de maneira livre, de acordo com a emoção intencionada) e intencional após o CFB (leitura do texto ou interpretação cantada da peça com intervenção do CFB, de acordo com a emoção intencionada). As emoções investigadas no estudo foram alegria, tristeza, ternura, medo e raiva. Para cada emoção analisada, o design experimental utilizado para a análise de dados foi: 2 versões (voz falada x voz cantada) x 3 condições (não intencional, intencional livre e intencional pós-CFB). Na segunda etapa do estudo (decoding), 47 ouvintes não músicos com idade entre 18 e 62 anos foram divididos em dois grupos: o primeiro grupo ouviu trechos de voz falada e o segundo grupo ouviu trechos de voz cantada. As tarefas dos participantes envolviam escuta musical do material gravado pelos barítonos e, após cada escuta, fornecimento de respostas emocionais sentidas (referentes ao estado interno, quando realmente há envolvimento emocional durante a escuta) e respostas emocionais percebidas (sem envolvimento emocional), por meio do preenchimento da Escala Emocional Musical de Genebra (GEMS), conforme o grupo ao qual pertenciam. O teste estatístico t-Student foi empregado para comparar as diferenças entre as médias de respostas esperadas e respostas obtidas pelos ouvintes. Os resultados indicaram que para emoções sentidas, houve acurácia na comunicação emocional da emoção raiva, na condição voz cantada pré-CFB e nas condições voz falada e voz cantada pós-CFB. Em relação a emoções percebidas, os resultados indicaram acurácia na comunicação emocional da emoção alegria na condição voz falada pós-CFB, da emoção raiva nas condições voz falada e voz cantada pré-CFB e pós-CFB e da emoção tristeza na condição voz cantada pré-CFB e pós-CFB. Os resultados deste estudo demonstraram que o Brunswikian Lens Model pode ser um modelo científico eficaz para a compreensão dos processos cognitivos relacionados à comunicação emocional entre o compositor/intérprete e ouvinte no contexto musical brasileiro. Neste sentido, o CFB parece ser uma importante ferramenta no processo de ensino do canto no contexto acima mencionado. Palavras-chaves: Comunicação emocional; voz falada; voz cantada; repertório brasileiro; / Abstract: Emotional communication refers to situations in which an expected emotion by the interpreter is understood by the listener. By this way, when the listener accomplishes this understanding, the emotional accuracy occurs. The cognitive feedback (CFB) is a tool that requires the utilization of some acoustic cues by the performer to the listener, in order to obtain emotional accuracy, according to the Expanded Lens Model. This tool has proved to be very effective in the enhancement of emotional communication between performer and listener in European western repertoire. This research aims to verify the influence of the cognitive feedback (CFB) on emotional communication accuracy in sung voice in Brazilian repertoire. This study was divided into two phases. In the first one (encoding), three baritone singers have recorded excerpts of a genuine Brazilian musical piece, made in two conditions: spoken and sung voice. For each condition, three types of interpretation were recorded: non-intentional (reading of lyrics or sung interpretations without the intention of conveying emotions), free intentional before CFB (reading of lyrics or sung interpretations ad libitum, according to the intended emotion) and intentional after CFB (reading of lyrics or sung interpretations with the CFB intervention). We investigated five emotions throughout the experiment: happiness, sadness, tenderness, fear and anger. For each assessed emotion, the experimental design employed was: 2 versions (spoken voice vs. sung voice) x 3 conditions (nonintentional, free intentional and intentional post-CFB). The second phase (decoding) relies on the participation of 47 non-musician listeners, between the ages of 18 and 62, divided into two groups: group one, in which participants listened to samples of spoken voice and group two, in which participants listened to samples of sung voice. Participants were requested to listen to the excerpt recorded by the baritones and provide answers referring to felt emotional responses (concerning the internal state when there is a real emotional involvement) and perceived emotional responses (without listeners emotional involvement) along the experiment by filling in the Geneva Emotional Music Scales (GEMS) after each musical sample. T-Student test was used to compare differences between averages of expected and obtained responses by participants listeners. Results indicated that for felt emotions, there was accuracy in emotional communication to anger in singing voice (pre-CFB condition) and spoken and singing voice (post-CFB conditions). Regarding perceived emotions, the results showed accuracy in emotional communication of joy in spoken voice (post-CFB condition), anger in spoken and sung voice (Pre and post-CFB conditions) and sadness in sung voice (pre and post-CFB conditions). Results showed that the Brunswikian Lens Model can be an effective scientific model to understand cognitive processes related to emotional communication between composer/performer and listener in Brazilian musical context. In this sense, the CFB appears to be an important tool in the process of singing learning in aforementioned context. Key-words: emotional communication; spoken voice; sung voice; Brazilian repertoire.

El “Bienestar Comunicativo en las personas” se ha planteado como el saber disciplinar de la Fonoaudiología. Para lograr una mínima coherencia con lo señalado anteriormente, una de las muchas miradas podría estar relacionada con proveer intervenciones y terapia eficaces, eficientes y efectivas. Actualmente no hay estudios previos respecto de la validación de instrumentos dirigidos a evaluar las percepciones de fonoaudiólogos/as y personas que se someten a terapia vocal respecto a la eficacia, eficiencia y efectividad de la terapia vocal. El problema es que no conocemos sus percepciones de eficacia, efectividad y eficiencia; conocerlas aportaría de manera fundamental a la acción terapéutica misma y de cómo ésta puede cambiar en beneficio de la propia disciplina y del bienestar de los usuarios. El objetivo de este proyecto es la construcción y validación de un instrumento para consultar sobre las percepciones de eficacia, eficiencia y efectividad terapéutica en el ámbito fonoaudiológico de la voz. Para ello, se diseñó y se propuso el instrumento “Índice de percepción de la efectividad de la terapia vocal fonoaudiológica” (IPETV), dirigido a fonoaudiólogos expertos en voz, para conocer sus nociones sobre eficacia, eficiencia y efectividad terapéuticas. El IPETV fue sometido al proceso de validación de “juicio de expertos” y modificado en base a las respuestas de los expertos en terapia vocal a los cuales se consultó. Se presenta la nueva propuesta del IPETV, concluyendo que fue posible crear un instrumento que evaluara estas percepciones, pero es difícil aunar una idea conjunta de lo que son eficacia, eficiencia y efectividad, ya que hay varios factores que influyen en esta percepción. / The “Communicative Wellness in people” has been raised as the disciplinary knowledge of the phonoaudiologist. For minimum consistency with the above, one of the many perspectives could be related with effective, efficient and effectual treatments and therapy. Currently there are no previous studies regarding the construction and validation of rigid instruments to assess perceptions of phonoaudiologists and the people under voice therapy regarding efficacy, effectiveness and efficiency of voice therapy. The problem is that we don´t know the perceptions of efficacy, effectiveness and efficiency of voice therapy. Know them would be a fundamental contribution to the therapeutic action itself and how it can change for the benefit of the patients and the discipline itself. The objective of this project is the construction and validation of an instrument to consult on perceptions about efficacy, effectiveness and efficiency of the therapy. For this, it is designed and proposed the instrument “Perception Index of effectiveness of Phonoaudiological Voice Therapy” (IPETV for its acronym in Spanish), directed to phonoaudiologists experts in voice to know their notions about therapeutic efficacy, effectiveness and efficiency. The IPETV was subjected to the validation process of “expert judgment” and modified based on answers given by experts in voice therapy. This seminar presents the new proposal of IPETV and it concludes that it was possible to create an instrument to assess the perceptions of efficacy, effectiveness and efficiency of voice teraphy. But it´s difficult to combine an idea about these concepts because there are many factors that influence this perception.

The aim of the research was to find out about intonational strategies in the performance situation. The singing voice was chosen as the appropriate subject for experimental work, due to its superior capability to define pitch as compared to other musical instruments. Ensemble singing was also required, as harmonic context may be important in the clarification of the issue. Chapter One, as an introduction to the subject, considers tuning systems and temperaments and briefly reviews the experimental literature on the subject. It also states the aim of the research. Chapter Two focuses on the theoretical aspects of the research, considering some relevant phenomena of psychoacoustics to the legacy of tuning systems and temperaments. Some thoughts on intonational strategies, reference frequencies and flexible temperament as desirable components of a sound intonational strategy are elaborated. An analysis of the motet Ave Verum Corpus, by Mozart, as the chosen music piece for experimental work is carried out. Chapter Three deals with the delineation of experimental procedures for the evaluation of the intonational strategies adopted by singers in the performance situation. The recording sessions environment and the technical tools utilised in the experiments are described, as well as the technical procedures to carry out the measurements of the acquired data. As strict criteria had to be met regarding the performance situation, simultaneity of performance and the need to acquire individual data for analytical work, electrodes were attached to the neck of the singers, near the larynx, in order to carry out the recording sessions with the help of Laryngograph devices. Analytical issues are also considered in the chapter, namely technical problems, errors and mistakes, as well as the implementation of intonational analyses and reference frequency calculations. Chapter Four presents a discussion on data measurements procedures, including guidelines for the determination of errors and mistakes and their symbology. Four recording sessions were carried out; two of them fulfilled all the necessary requirements. The singers’ results are presented in chronological order: firstly, a quartet of singers from the Royal Academy of Music, and secondly, sixteen of the BBC Singers. Reference frequency results are also presented and discussed. Chapter Five deals with the intonational strategies as defined by the experimental work. It was discovered that no theoretical model was followed throughout the music piece, but instead intonational procedures were guiding the singers while performing. Also, the two groups adopted different intonational strategies regarding reference frequencies. Alongside with the main issues of the research – intonational strategies regarding pitch behaviour and reference frequencies, pitch equalization within a choir section and text-related issues rank amongst the most important topics that have been revealed by the results. Chapter Six comments on the new concepts brought about by the research. It also delineates some possibilities for future research work on the subject and related issues, especially vibrato singing, text articulation and absolute pitch. The Appendices contain images of the experimental work, diagrams of studio disposition for recording sessions, and analytical scores alongside with tuning tables that make it possible to represent graphically analytical values. They also provide means of performing acoustical replications of the results of analysis and singers. The core of the appendices volume is formed by the results of the singers’ fundamental frequencies results and their graphical representation.

Orientador: Adriana Giarola Kayama / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-20T22:12:42Z (GMT). No. of bitstreams: 1 Carnassale_GabrielaJosias_M.pdf: 5455020 bytes, checksum: 9b0b6b54d5fc3e756d61f278136e1269 (MD5) Previous issue date: 1995 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em Artes

Orientador : Sara Pereira Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-03T23:06:14Z (GMT). No. of bitstreams: 1 Borges_CeciliadeAlmeida_M.pdf: 1098310 bytes, checksum: 637f16f691f2d35f105e31fda1a50e9c (MD5) Previous issue date: 2004 / Mestrado

La presente tesis se desarrolla bajo un modelo de práctica como investigación. Esto quiere decir que la fuente de los conocimientos que obtenga provienen desde una práctica que es pulsada por una fundamentación teórica, donde la pregunta articuladora que la origina tiene una clara intención de intervenir en el tejido social donde dicha práctica se encuentra inmersa; haciendo dialogar constantemente al contexto, el objeto artístico y al artista creador, quien toma para sí la capacidad de reflexionar teóricamente sobre los procesos, por sobre los productos, que lleva a cabo. De esta forma, como plantea Josette Féral, el artista reivindica su derecho a contribuir al saber, a todo el saber, práctico y no práctico, con la misma legitimidad de la obra más clásica1. Al igual que Feral, para José Antonio Sánchez, el campo de la investigación artística es el proceso de creación2. Así, la práctica artística se deja situar, analizar, fijar; trascendiendo su carácter efímero y constituyéndose como testigo presente de nuestra historia. Este modelo proviene de una convicción de que el arte promueve un tipo de saber que merece y debe estar a la altura entre los otros saberes, esto es, el conocimiento de nuestras emociones personales y subjetivas, a través de las cuales, conocer nuestro propio paisaje interior3. Amplía de esta forma, las posibilidades de aportación que un artista puede ejercer sobre el medio en que se encuentra. Por sobre un objeto cerrado y/o la respuesta a una pregunta, el modelo de práctica como investigación propone un entramado de pensamientos, búsquedas y conocimientos que surgieron durante el proceso de creación, poniendo conciencia en los procedimientos que articulan dicho pensar.

A presente pesquisa teve como objetivo verificar se o tempo de execução do exercício de vibração sonorizada de língua interfere nas respostas perceptivoauditivas e acústicas da voz em mulheres com nódulos vocais. Além disso, se propôs identificar em qual momento há predomínio de respostas vocais positivas e negativas ao longo de sete minutos de execução deste exercício. Para tanto, participaram da pesquisa 27 mulheres, com idade entre 18 e 45 anos, disfônicas, com nódulos de pregas vocais. Todos os sujeitos da pesquisa foram incluídos no Grupo Experimental (GE), o qual realizou o Exercício de Vibração Sonorizada de Língua (EVSL) e apenas dez deles participaram também do Grupo-Controle (GC), onde foi feito o exercício placebo. Ambos foram realizados por sete minutos. As vozes foram registradas antes e após o primeiro, terceiro, quinto e sétimo minutos de execução dos exercícios e analisadas perceptivo- auditiva e acusticamente. Na análise perceptivo-auditiva, elas foram estudadas individualmente por meio do Protocolo CAPEV e aos pares, de forma comparativa, com a identificação da melhor voz para cada par examinado. Na análise acústica, utilizou-se o software VoxMetria versão 2.7h da CTS Informática na função Qualidade Vocal. Foram considerados os valores de frequência fundamental, jitter, shimmer, Glottal to Noise Excitation (GNE), irregularidade e ruído. De acordo com os resultados do CAPEV, o Exercício de Vibração Sonorizada de Língua (EVSL) provocou mudanças estatisticamente significantes em sete dos nove parâmetros investigados. A aplicação do teste estatístico ANOVA mostrou que no momento 5 (após o quinto minuto de execução do EVSL), a voz apresentou-se com melhor grau geral (p = 0,0004), menor rugosidade (p = 0,007), menor soprosidade (p < 0,001) e pitch agudo (p < 0,001). Porém, no momento 7 (após o sétimo minuto), a tensão apresentou-se significativamente mais alta (p = 0,016) em comparação a todos os outros momentos. Na análise pareada, houve prevalência de melhora vocal no pós-exercício em todos os momentos, com exceção do 7°. Não houve diferença estatisticamente significante entre os momentos 1 e 3. As vozes no momento 5 foram consideradas melhores do que nos momentos 3 (p = 0,013) e 7 (p = 0,013) no Grupo Experimental. Na análise acústica do grupo experimental houve aumento gradativo da frequência fundamental (p = 0,0030) e do GNE (p = 0,0011) após o terceiro minuto e diminuição do ruído (p = 0,0013) a partir do primeiro. Tanto na análise perceptivo-auditiva quanto na acústica, os resultados do Grupo Experimental foram superiores aos encontrados no Grupo-Controle no que diz respeito às melhoras vocais. Os resultados da presente pesquisa demonstram que o tempo de realização do EVSL interfere nas respostas vocais em mulheres disfônicas, sendo que no momento 5 há predomínio de respostas positivas em comparação aos momentos 1, 3 e 7. No 7, há aumento de tensão vocal e queda no desempenho do exercício. / The aim of this study was to assess whether tongue trills trill performance time interferes in the auditory perception and acoustic in women with vocal nodules. Furthermore, it was intended to identify at which moment during the 7-minute performance time the positive and negative responses predominate. This study comprised twenty-seven dysphonic women, who have vocal nodules, ranging from 18 to 45 years old. All subjects of this study were included in the experiment group which underwent tongue trills; only ten of these were also in the control group which underwent the placebo exercise. Both groups carried out the 7- minute performance time. The voices were recorded pre and post experimental and placebo exercises at the first, third, fifth and seventh minute of performance and auditory perception and acoustic were analyzed. In the auditory perception analysis the voices were analyzed individually according to the CAPEV protocol and in pairs, by comparison, to identify the better voice of the pair. The Voxmetria® program, version 2.7h by CTS Informática, was used to assess the vocal quality function. Fundamental frequency, jitter, shimmer, GNE, irregularity and noise were considered. According to the CAPEV results, the tongue trills caused statistically significant changes in seven out of the nine parameters analyzed. The use of the ANOVA analysis of variance showed that at moment 5 (after the fifth minute of experiment exercise) the voice presented the best overall rating, the least roughness, the least breathiness and high pitch. However, at moment 7 (after the seventh minute) the tension was significantly higher than at any other moment. In the paired comparison analysis, there was predominance of improved vocal in the post tongue trills at all moments, except the 7th. There was no statistically significant difference between moments 1 and 3. The voices at moment 5 were considered better that those at moment 3 and at moment 7 in the experiment group. In acoustic analysis of the experiment group there was gradual increase in the fundamental frequency and in the GNE after the 3rd minute and a decrease in noise as of the 1st minute. In the auditory perception analysis as well as in the acoustic analysis, the ratings for the experiment group were higher than those of the control group in relation to vocal improvement. The results of this study show the tongue trill performance time interferes in the vocal response of dysphonic women with positive response predominance at moment 5 compared to moments 1, 3 and 7. At moment 7 there is an increase of vocal tension and a drop in performance during tongue trills.