For several decades since the rise of extensive instrumental music instruction, various music periodicals have devoted a certain amount of space to printing comments, suggestions, and other pedagogical material to aid the student in playing a particular instrument. The writer, in his belief in the value of this material, has chosen to make a survey of various periodicals and to catalog certain items as a reference guide to the location of significant articles.

Este trabalho apresenta algumas contribuições para uma atualização metodológica e pedagógica do ensino de instrumentos de sopro em aulas coletivas inspirado pelas práticas informais de aprendizagem identificadas por Green (2008), Braga (2005) e Priest (1989) entre outros. As práticas informais são um conjunto de atividades identificadas pela literatura como típicas da música popular ou tradicional que possuem interesse para a educação musical formal. Suas características principais podem ser resumidas como: concessão de espaço e tempo para os alunos improvisarem e experimentarem; livre escolha do repertório e; maior uso de modelos visuais e sonoros dados pelo professor e por gravações trazidas à sala de aula. As práticas informais estão de acordo com a pedagogia de Paulo Freire na medida em que colocam a autonomia como meio de aprendizagem e não apenas como finalidade. A formalização das práticas musicais na direção da escrita e leitura de partituras é um processo antigo correlacionado ao desenvolvimento do racionalismo na história do pensamento ocidental em sua busca pela precisão, segundo Koellreutter (Brito, 2007). O caminho que as práticas musicais tomaram teve seu ápice no século XIX, sendo que o sistema de ensino dos conservatórios constituído nesta época perdura até os dias de hoje na educação musical, em especial no ensino formal e tradicional. É só a partir da segunda metade do século XX que os trabalhos de educação musical procuraram reequilibrar o processo de transmissão da música em busca da oralidade e da subjetividade que quase se perdeu. Este trabalho procura ser mais uma contribuição nesta direção. A pesquisa procurou implementar as práticas informais seguindo em linhas gerais o modelo sugerido por Green (2008) mas também incorporando as contribuições de outros autores como Braga (2005) e Priest (1989) no curso de iniciação aos instrumentos de sopro do Guri. O foco principal foi a análise do comportamento dos alunos perante as atividades, geralmente pouco estruturadas, bem como de seu desenvolvimento musical ao longo das aulas, utilizando o método de pesquisa baseado no estudo de caso instrumental. Apesar de vários percalços ao longo do trabalho, os resultados obtidos foram bastante favoráveis a adoção destas práticas e corroboram com as ideias de Green (2008). Tanto no que diz respeito a tocar a melodia escolhida pelos próprios alunos, como nas improvisações, vários deles demonstraram bastante desembaraço e independência. Também se observou que, por serem uma forma mais direta e musical de se aprender, as práticas informais permitiram aos alunos lidar com materiais musicais muito mais ricos e complexos do que em um curso tradicional. Por outro lado estas práticas pareceram mais adequadas para os alunos mais velhos, uma vez que estes tendem naturalmente a ter mais voz no grupo e a exercer mais plenamente a sua autonomia, inibindo os mais jovens que talvez tivessem sido beneficiados por mais apoio docente. / This work presents some contributions for a methodological and pedagogical update to the teaching of woodwind instruments in group lessons based on informal learning practices identified by Green (2008), Braga (2005) and Priest (1989) among others. Informal learning practices are a set of activities identified in the literature as typical of popular or traditional music which are of interest for formal music education. Their main characteristics can be summarized as: granting time and room for the student\'s experimentations and improvisations; freedom to choose their musical repertoire; enhanced use of visual and sound role models exposed by the teacher and by musical recordings brought to the classroom. Informal practices are in harmony with Paulo Freire\'s pedagogy since they place autonomy as a mean of learning and not only as a goal. Following Koellreutter (BRITO, 2007), the formalization of musical practices towards the writing and reading of musical scores is a very old process related to the development of rationalism in the history of the western thought in its aim for precision. The path taken by musical practices had their pinnacle at the 19th century, when the conservatory learning system developed, which persists until today mainly in formal traditional education. It is only on the second half of the 20th century that the studies in musical education seek to balance the music transmission process towards an almost gone oral tradition and subjectivity. The present work tries to make a contribution in this direction. The research attempts to implement the informal practices according to the general guidelines of the model proposed by Green (2008), incorporating also the contributions of other authors like Braga (2005) and Priest (1989), in the beginner class of woodwind instruments at Guri program. The main focus of the analysis was on the responses of the students along the generally non-structured activities as well as their musical development throughout the course, using the research method based on instrumental case study. Despite several setbacks during the research, the results were highly favorable to the adoption of those practices and corroborate with Green\'s (2008) ideas. In terms of student\'s success in playing the tunes chosen by them, as well as in improvising several of them showed self-sufficiency and were at ease with the instrument. As the Informal Learning Practices are a more musical and nonmediated way of learning, the students were able to deal with a richer and more complex musical content. On the other hand those practices seemed more suitable to older students since they tend to have a more active role in the group and to exercise more fully their autonomy, inhibiting the youngest, that would probably have benefited from more teacher\'s support.

Este trabalho apresenta algumas contribuições para uma atualização metodológica e pedagógica do ensino de instrumentos de sopro em aulas coletivas inspirado pelas práticas informais de aprendizagem identificadas por Green (2008), Braga (2005) e Priest (1989) entre outros. As práticas informais são um conjunto de atividades identificadas pela literatura como típicas da música popular ou tradicional que possuem interesse para a educação musical formal. Suas características principais podem ser resumidas como: concessão de espaço e tempo para os alunos improvisarem e experimentarem; livre escolha do repertório e; maior uso de modelos visuais e sonoros dados pelo professor e por gravações trazidas à sala de aula. As práticas informais estão de acordo com a pedagogia de Paulo Freire na medida em que colocam a autonomia como meio de aprendizagem e não apenas como finalidade. A formalização das práticas musicais na direção da escrita e leitura de partituras é um processo antigo correlacionado ao desenvolvimento do racionalismo na história do pensamento ocidental em sua busca pela precisão, segundo Koellreutter (Brito, 2007). O caminho que as práticas musicais tomaram teve seu ápice no século XIX, sendo que o sistema de ensino dos conservatórios constituído nesta época perdura até os dias de hoje na educação musical, em especial no ensino formal e tradicional. É só a partir da segunda metade do século XX que os trabalhos de educação musical procuraram reequilibrar o processo de transmissão da música em busca da oralidade e da subjetividade que quase se perdeu. Este trabalho procura ser mais uma contribuição nesta direção. A pesquisa procurou implementar as práticas informais seguindo em linhas gerais o modelo sugerido por Green (2008) mas também incorporando as contribuições de outros autores como Braga (2005) e Priest (1989) no curso de iniciação aos instrumentos de sopro do Guri. O foco principal foi a análise do comportamento dos alunos perante as atividades, geralmente pouco estruturadas, bem como de seu desenvolvimento musical ao longo das aulas, utilizando o método de pesquisa baseado no estudo de caso instrumental. Apesar de vários percalços ao longo do trabalho, os resultados obtidos foram bastante favoráveis a adoção destas práticas e corroboram com as ideias de Green (2008). Tanto no que diz respeito a tocar a melodia escolhida pelos próprios alunos, como nas improvisações, vários deles demonstraram bastante desembaraço e independência. Também se observou que, por serem uma forma mais direta e musical de se aprender, as práticas informais permitiram aos alunos lidar com materiais musicais muito mais ricos e complexos do que em um curso tradicional. Por outro lado estas práticas pareceram mais adequadas para os alunos mais velhos, uma vez que estes tendem naturalmente a ter mais voz no grupo e a exercer mais plenamente a sua autonomia, inibindo os mais jovens que talvez tivessem sido beneficiados por mais apoio docente. / This work presents some contributions for a methodological and pedagogical update to the teaching of woodwind instruments in group lessons based on informal learning practices identified by Green (2008), Braga (2005) and Priest (1989) among others. Informal learning practices are a set of activities identified in the literature as typical of popular or traditional music which are of interest for formal music education. Their main characteristics can be summarized as: granting time and room for the student\'s experimentations and improvisations; freedom to choose their musical repertoire; enhanced use of visual and sound role models exposed by the teacher and by musical recordings brought to the classroom. Informal practices are in harmony with Paulo Freire\'s pedagogy since they place autonomy as a mean of learning and not only as a goal. Following Koellreutter (BRITO, 2007), the formalization of musical practices towards the writing and reading of musical scores is a very old process related to the development of rationalism in the history of the western thought in its aim for precision. The path taken by musical practices had their pinnacle at the 19th century, when the conservatory learning system developed, which persists until today mainly in formal traditional education. It is only on the second half of the 20th century that the studies in musical education seek to balance the music transmission process towards an almost gone oral tradition and subjectivity. The present work tries to make a contribution in this direction. The research attempts to implement the informal practices according to the general guidelines of the model proposed by Green (2008), incorporating also the contributions of other authors like Braga (2005) and Priest (1989), in the beginner class of woodwind instruments at Guri program. The main focus of the analysis was on the responses of the students along the generally non-structured activities as well as their musical development throughout the course, using the research method based on instrumental case study. Despite several setbacks during the research, the results were highly favorable to the adoption of those practices and corroborate with Green\'s (2008) ideas. In terms of student\'s success in playing the tunes chosen by them, as well as in improvising several of them showed self-sufficiency and were at ease with the instrument. As the Informal Learning Practices are a more musical and nonmediated way of learning, the students were able to deal with a richer and more complex musical content. On the other hand those practices seemed more suitable to older students since they tend to have a more active role in the group and to exercise more fully their autonomy, inhibiting the youngest, that would probably have benefited from more teacher\'s support.

Submitted by SAMUEL ANDRE POMPEO null (samuel.pompeo@terra.com.br) on 2016-08-26T22:57:31Z No. of bitstreams: 1 disserta versão final.pdf: 1455241 bytes, checksum: e7d80b4415cf358530962f2f4f703690 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-08-30T14:25:46Z (GMT) No. of bitstreams: 1 pompeo_sa_me_ia.pdf: 1455241 bytes, checksum: e7d80b4415cf358530962f2f4f703690 (MD5) / Made available in DSpace on 2016-08-30T14:25:46Z (GMT). No. of bitstreams: 1 pompeo_sa_me_ia.pdf: 1455241 bytes, checksum: e7d80b4415cf358530962f2f4f703690 (MD5) Previous issue date: 2016-06-29 / Esta pesquisa tem o objetivo de identificar a importância e os benefícios do estudo dirigido para a sonoridade nos instrumentos de sopro. O intuito desse tipo de estudo é obter melhor desempenho performático, podendo ser aplicado tanto por saxofonistas quanto por outros instrumentistas de sopro. A investigação também apurou a origem das técnicas relacionadas à sonoridade, notadamente à respiração. Os procedimentos metodológicos concentraram-se em descrever a apostila pedagógica elaborada pelo pesquisador, voltada para o estudo da sonoridade; realizar um levantamento bibliográfico dos métodos e livros destinados aos instrumentistas de sopro, principalmente aos saxofonistas; encontrar subsídios teóricos envolvendo as questões ligadas à respiração e à emissão de ar; realizar uma pesquisa-ação com alunos da Escola Municipal de Música; e entrevistar músicos profissionais ligados ao mundo popular e erudito para checagem do conhecimento relativo aos estudos e informações sobre respiração e emissão sonora. Isso possibilitou traçar um panorama do entendimento da sonoridade que músicos e professores possuem e da abordagem dada por autores de livros e métodos ao estudo da sonoridade – cabe ressaltar que os músicos e professores participantes deste estudo são, particularmente, da cidade de São Paulo. Os resultados mostram que as técnicas de respiração usadas pelos instrumentistas de sopro possuem sua origem nas técnicas do canto. Além disso, constatou-se que a adoção da prática específica e contínua para o desenvolvimento da sonoridade apresenta benefícios para o praticante, como ganho de volume e uniformidade de timbre em todas as regiões do instrumento. A dissertação contempla, além do capítulo Introdutório e das Conclusões Finais, quatro capítulos que descrevem a metodologia pedagógica empregada pelo pesquisador para o estudo da sonoridade, a fundamentação teórica da pesquisa, a pesquisa-ação e a discussão dos resultados. / This research aims to identify the importance and benefits of a study routine focused on sonority in wind instruments. The objective of that kind of study is to obtain better performance development and could be adopted by saxophonists and other wind players as well. The investigation also found out the origins of sonority techniques, notably the ones related to the breathing process. The research method concentrates on describing the pedagogical sonority workbook developed by this researcher; reviewing workbooks and handbooks that target wind musicians, especially saxophonists; finding theoretical basis encompassing questions related to breathing process and air emission; conducting an action research with students from Escola Municipal de Música; and interviewing professional musicians, both popular and classical, to verify their knowledge regarding study practices, breathing information and sound emission. That allowed me to delineate a general perspective regarding the comprehension by musicians and instructors and the approach given by book authors to sonority studies—it is worth mentioning that musicians and instructors participants in this study are mainly from São Paulo. The results show that breathing techniques used by wind performers originate from singing techniques. Additionally, results demonstrate that the adoption of the practice dedicated to sonority development offers benefits to the practioner, as volume enhancement and timbre uniformity through all instrument regions. This dissertation includes, besides Introduction and Final Conclusions, four chapters that describe simultaneously the pedagogy applied by this researcher in studying sonority, the theoretical foundation of the research, the action research and the results discussion.

South African education is currently in a process of restructuring, stemming from radical political changes in 1994. In 1995 a system of outcomes-based education was adopted by the Department of Education, strategically supported by the South African Qualifications Authority with its twelve relevant National Standards Bodies. Together with this, a system of unit standards, based on the accreditation of credits, learning programmes and qualifications is in a process of development. Music as formal school subject does not enjoy the same financial support from the Education Department as do the so-called "essential" subjects such as Mathematics and Science. Therefore no formal structures to generate unit standards for Music were origmally planned and budgeted for by educational authorities. To fill this need, and to prevent the marginalisation of such an important subject, the MEUSSA (Music Education Unit Standards for Southern Africa) project was initiated by the Music Department of the University of Pretoria early in 2000, involving 18 Master's and doctoral students in various areas of musical expertise. The aim is to generate unit standards for Music(s) in Southern Africa across traditional aspects such as instrumental training, harmony, history, theory and aural training, as well as the relatively unexplored domains of Music Technology, World Musics and Popular Music. Cultural shifts over the last approximately forty years began reshaping the understanding of the world we are' living in, resulting in a transition from a modern to a postmodern culture in Western societies. For the project of writing unit standards for music to be relevant, it was necessary to reflect on these changes and to accommodate them in music education. Frameworks and standards generated in the USA, Australia, New Zealand and England were also investigated and contextualised. Because the field of expertise of the author lies, inter alia, in the field of Aerophones, unit standards were specifically generated for music performance. These standards have to be considered as part of the MEUSSA project, and therefore be read in conjunction with contributions by other members of this team. It is the wish of the author, as part of the MEUSSA team, that this study will contribute towards making music education of high quality available to every learner in Southern Africa. / Thesis (DMus)--University of Pretoria, 2006. / Music / unrestricted

Au début du 21ème siècle, l'innovation dans le domaine des instruments de musique se fait surtout par le biais de la synthèse sonore, via des synthétiseurs et des ordinateurs. Cependant, si ces instruments permettent une création presque infinie de sons nouveaux, l'interaction entre le musicien et son instrument est bien plus pauvre qu'avec un instrument mécanique, ce qui provoque une perte d'expressivité musicale et réduit l'utilité d'une grande maîtrise du geste instrumental. Dans le but d'innover tout en conservant ce geste musical, cette thèse propose d'appliquer le contrôle actif aux instruments à vent, en particulier, sur le trombone muni d'une sourdine active et sur la clarinette basse. Son objectif est de modifier les caractéristiques des résonances des instruments à vent afin d'en modifier le son produit (hauteur, timbre) et la jouabilité. Les effets des modifications apportées aux instruments, lors de l'utilisation de deux méthodes de contrôle actif, sont observés sur l'impédance d'entrée des instruments, sur leur fonction de transfert et sur le son rayonné. Un contrôle actif par feedback simple n'utilisant que des gains et des déphasages est appliqué à la sourdine. Cela permet de modifier la fréquence et l'amortissement de sa résonance, avec pour conséquence de modifier l'impédance d'entrée du trombone, et pour l'instrumentiste de faire varier sa jouabilité. Si ce premier contrôle est simple, il ne permet pas de contrôler efficacement un système à plusieurs degrés de liberté. Le deuxième contrôle implémenté est le contrôle actif modal. Il permet, à partir d'un modèle du système à contrôler, de modifier de manière ciblée les paramètres modaux de ses résonances (amortissement et fréquence). Il est appliqué en simulation à un modèle de clarinette puis validé expérimentalement sur une "clarinette basse simplifiée". Il permet d'importantes modifications des résonances, entrainant des changements notables dans le son et l'impédance d'entrée. / The main focus of innovation in musical instrument making in the early 21st century has been sound synthesis using computers or stand-alone electronic synthesisers. However, while these tools enable the creation of a near-infinite range of new sounds, the interaction between the musician and their instrument is much weaker than with a conventional acoustical instrument. This results in a loss of musical expression and reduces the use of musical gesture. With the aim of innovating while keeping the influence of musical gesture, this thesis proposes to apply active control to musical wind instruments. In particular, active control is applied to a trombone equipped with a specially designed mute and to a bass clarinet. The aim of this work is to modify each instrument's resonance characteristics in order to change its radiated sound (pitch, timbre) and playability. The effects of two control methods on the input impedance, transfer function and radiated sound of the instruments are studied. First, a feedback control involving gains and phase shifting is applied to the trombone mute. It allows significant modification of both the frequency and the damping factor of the mute's resonance. The effects of the mute on the trombone's input impedance and playability are studied. This control is simple, but it is not efficient with more complex systems. Second, a modal control is implemented. Using a model of the system, modal active control allows the modal parameters (frequency, damping) of the system's resonances to be modified in a targeted manner. It is first applied to a modelled clarinet, then experimentally validated with a "simplified bass clarinet". Significant independent modifications of the resonances are obtained, as well as noticeable alterations of the sound and input impedance of the instrument.

No description available.

Made available in DSpace on 2014-07-29T16:25:13Z (GMT). No. of bitstreams: 1 ARTIGO FINAL - Ricardo Rosembergue.pdf: 1546157 bytes, checksum: 1e6c96e6efa16325f1f9490114d77c2c (MD5) Previous issue date: 2012-03-31 / This paper discusses the musician's dystonia and its relationship to performance on wind instruments. The work presents from the literature review on the subject the concept of dystonia, as well as the musician's focal dystonia of its main causes and symptoms related to instrumental practice and lists possible ways of prevention based on the aspects of preparation and holding of musical performance and situations related to the theme. The survey data were obtained through consultation with professional musicians in the city of Goiania. The results revealed several meanings of musical practice and overuse, health problems related to performance anxiety and musical performance and still making music that can overcome the physical and mental limits of the performer. Due to the incidence of psychophysical problems in musicians, undertook a discussion about the possibility of developing disorders in brass and it was concluded that the musical performance can generate states of illness and development of disorders such as focal dystonia of the musician. It was recommended a few precautions to be taken as preventive measures for occupational illness. / O presente trabalho discute a distonia focal do músico e sua relação com a performance em instrumentos de sopro. O trabalho apresenta a partir da revisão de literatura sobre o tema o conceito de distonia, bem como o de distonia focal do músico suas principais causas e sintomas relacionados com a prática instrumental e elenca possíveis caminhos de prevenção com base nos aspectos de preparação e realização da performance musical e situações relacionadas ao tema. Os dados da pesquisa foram obtidos por meio de consultas a músicos profissionais na cidade de Goiânia. Os resultados obtidos revelaram diversas significações sobre prática musical e sobreuso, problemas de saúde relacionados à performance musical e ansiedade na performance e ainda que o fazer musical pode ultrapassar os limites físicos e mentais do performer. Devido à incidência de problemas psicofísicos em músicos, empreendeu-se uma discussão sobre a possibilidade de desenvolvimento de distúrbios em instrumentistas de sopro e concluiu-se que a performance musical pode gerar estados de adoecimento e desenvolvimento de distúrbios como a distonia focal do músico. Recomendou-se alguns cuidados a serem tomados como medidas preventivas de adoecimento ocupacional.

Ce mémoire traite de l'acoustique de la clarinette et du rôle de l'anche, résumant des travaux menés entre 2001 et 2018 sur divers sujets :I) Étude de modèles analytiques élémentaire focalisée sur : 1) le rôle des pertes. 2) les cartes itérées, mettant en évidence divers régimes de fonctionnement, utiles aussi pour la pédagogie instrumentale. II) Étude de caractérisation des anches : 1) Étude dynamique des résonances de l'anche réalisée par holographie. Elle conduit à un modèle de matériau viscoélastique expliquant certaines différences observées dans les fréquences des 15 premiers modes de l'anche. 2) Étude statique des caractéristiques mécaniques et aérauliques de l'excitateur (anche+bec+lèvre). La méthode mesure précisément la quantité d'air entrant dans l'instrument en fonction de la pression de lèvre et d'air. III) Synthèse sonore par modèle physique en temps réel : 1) Modélisation mécanique et aéraulique de l'anche, d'après mesure. Le modèle de ressort raidissant non linéaire proposé autorise une simulation dynamique efficace. 2) Estimation modale de l'impédance d'entrée (mesurée) des instruments à vent. On montre les techniques de conception de filtres numériques précis et passifs à toute fréquence. 3) Modélisation et simulation instruments à vent au moyen de guide-ondes, par estimation modale, implémentée dans un logiciel en C++. IV) Une étude de jouabilité d'un panel de 40 anches par analyse canonique des corrélations révèle des liens statistiquement solides entre mesures physiques, évaluations subjectives et synthèse sonore. Elle autorise une caractérisation des anches pouvant être réalisé par le fabricant, selon au moins 4 facteurs indépendants. / This thesis deals with the acoustics of the clarinet and the role of the reed, summarizing studies carried out between 2001 and 2018 on various topics : I) Study of elementary analytical models, focused on 1) role of losses. 2) iterated maps, highlighting various operating regimes, which are also useful for the instrumental pedagogy. II) Reed characterization study : 1) Dynamic study of the reed resonances, by holography. It leads to a model of viscoelastic material explaining some differences observed in the frequencies of the first 15 modes of the reed. 2) Static study of the mechanical and aeraulic characteristics of the exciter (reed + mouthpiece + lip). The method accurately measures the airflow entering the instrument as a function of lip and air pressure. III) Sound synthesis by physical model in real time : 1) Mechanical and aeraulic modeling of the reed, according to measurements. The proposed nonlinear stiffening spring model allows for an efficient dynamic simulation. 2) Modal estimation of the (measured) input impedance of wind instruments. Design techniques for accurate digital filters, passive at any frequency, are described. 3) Modal estimation and simulation of wind instruments by waveguides, implemented in C ++ software. IV) A playability study of a panel of 40 reeds by canonical correlation analysis reveals statistically strong links between physical measurements, subjective evaluations and sound synthesis. It allows a characterization of the reeds that can be made by the manufacturer, according to at least 4 independent factors.

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