This thesis details my process in teaching a class I devised, entitled, "Singing for Actors and Acting for Singers," in an attempt to develop a pedagogical bridge between singing and acting. In this thesis, I discuss the need for creating this course and evaluate how effectual it was. Additionally, I detail my research, curricular development and students' responses to the material.

Un nombre croissant d'études révèle combien les processus cérébraux de production et de perception de l'action sont intriqués. En particulier, on sait maintenant que la perception de la parole induit l'activation de représentations motrices articulatoires chez l'auditeur. Dans ce travail, nous explorons la perception de la voix chantée, une action vocale non-linguistique. L'écoute d'une voix chantée provoque-t-elle une activation du système moteur ? Cette activité motrice est-elle plus forte pour la voix que pour un son musical non-biologique ? Ces questions sont abordées en utilisant de façon complémentaire deux protocoles comportementaux, une technique de lésion virtuelle par stimulation magnétique transcrâniale, l'étude des oscillations en EEG et celle de la variabilité métabolique en IRMf. Nos résultats montrent que la perception d'une voix chantée est effectivement associée à une activité du cortex sensorimoteur dans des tâches de répétition et de discrimination. De façon intéressante, les plus mauvais chanteurs ont montré la plus forte résonance motrice. Le système moteur pourrait, par la génération de modèles internes, faciliter le traitement des stimuli ou la préparation de la réponse vocale quand le traitement acoustique seul est insuffisant. L'ensemble des résultats présentés ici suggère que les interactions audiomotrices en perception de la voix humaine sont modulées par la dimension biologique du son et par le niveau d'expertise vocale des auditeurs. / A growing body of research reveals that action production and action perception interact. In particular, it has been shown that speech perception entails articulatory motor representations in the listener. In the present work, we investigate the perception of a singing voice, a stimulus that is not primarily linked to articulatory processes. Does listening to a singing voice induce activity in the motor system? Is this motor activity stronger for a voice than for a non-biological musical sound? Two behavioral tasks, a og virtual lesionfg{} paradigm using TMS, the study of brain oscillations with EEG and an fMRI experiment carried out during my PhD have shed some light on these questions. Our results show that the perception of a singing voice is indeed associated with sensorimotor activity in repetition and discrimination tasks. Interestingly, the poorer singers displayed the stronger motor resonance. The motor system could facilitate the processing of sound or the preparation of the vocal response by internal model generation when the acoustic processing is not effective enough. The set of studies presented here thus suggests that audiomotor interactions in human voice perception are modulated by two factors: the biological dimension of sound and the listeners' vocal expertise. These results suggest new perspectives on our understanding of the auditory-vocal loop in speech and of sound perception in general.

Denna självstudies syfte föddes ur ett antagande om mig själv, att jag upplever mig ha svårt för att lära mig sångtexter och framföra dessa utantill. Studien behandlar en djupdykning i min egen instuderingsprocess av sångtexter ur ett hermeneutiskt perspektiv. Studien dokumenterades genom videoinspelning och loggboksskrivande, där jag studerar in två sånger utantill. Tolkningen av resultatet sammanfattas med fyra teman utifrån mina forskningsfrågor: styrkor i instuderingsprocessen vilka tolkas vara förmågan till inlevelse av texten där jag målar upp inre bilder och berättelser, och svagheter i instuderingsprocessen vilka tolkas vara övningsstrategi och pianospel, samt en jämförelse mellan att använda förinspelad musik eller inte där fokus hamnar på i vilket syfte förinspelad musik används och dess konsekvenser för mig, att den förinspelade versionen används som en bekräftelse för korrekt uttal av texten. I diskussionen diskuteras sedan tolkningen av resultatet gentemot bakgrundslitteratur och tidigare forskning på området. / The purpose of this self study was born out of an assumption I have made of myself, that I find it difficult to learn song lyrics by heart and perform them by heart. From a hermeneutic perspective the study takes a deep dive into my learning process whilst learning song lyrics. The study is documented by video and logbook writing, where I learn two songs by heart. The analysis results are summarized in four themes based on my research questions: strengths in the rehearsal process, interpreted as empathy of the text where I create inner pictures and stories, and weaknesses in the rehearsal process, interpreted as practice strategy and playing the piano, as well as a comparison between using pre-recorded music or not, a comparison focusing on the purpose of pre-recorded music and its consequences for me; consequently that the pre-recorded music was used as a confirmation for correct pronunciation of the lyrics. The discussion debates the interpretation of the results against the background literature and previous research.

A Tataouine, le chant est profondément lié aux diverses activités quotidiennes, y compris les occasions de fêtes. Sa pratique témoigne d’un grand échange culturel. Cette recherche présente un genre vocal appelé naç, connu dans la région de Tataouine (Sud-est de la Tunisie). Elle a pour objectif de présenter le genre vocal naç, de mettre en valeur la production musicale de l’homme et de la femme et de présenter le rituel du mariage qui est une importante occasion de production musicale. La thèse se subdivise en quatre parties : Après une présentation géographique de la région, La deuxième partie présente le genre vocal naç. Elle interroge la pratique musicale dans la région de Tataouine en étudiant les thématiques abordées par la femme et l’homme. La troisième partie étudie la fête du mariage chez trois tribus : Ouled Dabbâb, Ouled Ch’hida et les Dghâghra. Nous examinons le déroulement des rituels en dégageant les chants qui les accompagnent. La quatrième partie comprend des analyses musicales du répertoire chanté. Cette analyse porte d’un côté sur les éléments musicaux (échelles, ambitus, intervalles..), de l’autre côté, elle étudie les rapports entre la musique et la poésie. Cela révèle deux différents types de chant : chants mélismatiques simples du domaine festif et chants mélismatiques riche en phonèmes significatifs du domaine privé. / In Tataouine, singing is deeply linked to various daily activities, including ceremonies. Its practice testifies big cultural exchanges. This research introduces a vocal called naç, known in the region of Tataouine (Southeast of Tunisia). It has as objective to introduce vocal type naç, to emphasize the musical production of men and women and to introduce the ritual of wedding which is an important opportunity of musical production. This Thesis includes four parts: the first one is a geographical presentation of the region; the second part introduces vocal type naç. It questions the musical practice in the region of Tataouine by studying themes approached by women and men. The third part studies the wedding ceremonies of three tribes: Ouled Dabbâb, Ouled Ch' hida and Dghâghra. We examine the sequence of rituals by clearing singing which accompany them. In The fourth part, we introduce a musical analysis of a selection of songs. This analysis, in one of its parts, focus on the musical elements (ladders, ambitus, and spaces). In another part, it studies the relationship between music and poem. It reveals two different types of singing: singing mélismatiques singing simple of festive domain and mélismatiques rich in significant phonemes of private domain.

Le langage et la musique sont deux éléments majeurs structurants une société. ils permettent aux membres de cette dernière d'entretenir et d'échanger avec autrui. ces objectifs sont communs à ceux de l'enseignant de langue-culture : créer des actes de langage. la production orale fait appel aux différentes connaissances de l'apprenant qu'elles soient syntaxiques, lexicales, phonétiques. les activités, telles que le théâtre ou le chant favorisent les acquisitions nécessaires à l'enseignement des langues et, plus particulièrement dans ce cas-ci, du français langue étrangère. ces deux supports sont un moyen didactique d'apprentissage qui, par le travail de création, puis de mémorisation, se détache des problèmes purement linguistiques pour se focaliser sur les compétences verbales, phonétiques et prosodiques de chaque apprenant.nous nous interrogerons sur l'évolution de l'enseignement de la phonétique en langues vivantes et plus particulièrement en fle puis des enseignements proposés par le théâtre et le chant d'un point de vue théorique. cette théorisation nous permettra par la suite d'observer si elle peut mener à une pratique plus performante. nous observerons les particularités des disciplines artistiques au niveau corporel, vocal, mais aussi d'un point de vue relationnel que ce soit au niveau vertical ou au niveau horizontal. ce dernier élément nous permettra ainsi d'observer le rôle de l'enseignant, la préparation que cela implique, les difficultés (choix du texte, gestion du temps, notation de ce type d'enseignement, l'implication ou non des apprenants, l'utilisation du métalangage propre au domaine de la phonétique, pallier les connaissances préalables et les transferts des apprenants…) auxquelles il peut être confronté ainsi que les apports que cela procure d'un point de vue pédagogique. nous tenterons de décrire et d'analyser ainsi une approche transdisciplinaire d'un enseignement-apprentissage possible de la phonétique et ainsi de répondre à la problématique de ce domaine : comment reconnaître et reproduire les phonèmes d'une langue étrangère. / The following study discusses the influence of drama and singing in the teaching and learning of French pronunciation as a foreign language. The theoretical part of this reflexion relies on interactionism, socio-constructivism and emergentist approaches. We will review the different methods of teaching pronunciation as well as the concepts of “norm” “correction”, “body langage” and “voice setting” in such context. Therefore, we conducted two experiments. The first study took place at the University Paris 3 Sorbonne-Nouvelle. We managed a singing project with students who learn French pronunciation at the A2 level. The second one dealt with drama and pronunciation with a group of A2 level students at the Catholic University of Paris. Through the observation and collection of pre- and post-tests we will present the results of the analysis of /y/ and /u/ of female voices through such protocols. This study aims to contribute to the field of pronunciation with artistic approaches.

Cette thèse est une étude ethnomusicologique à dimension historique portant sur la transmission globale du höömij en Mongolie. Pour expliquer l’évolution de cette technique vocale, sont explorés les légendes, les conceptions autochtones, l’histoire des années 1950 au début des années 2010 et la mise en patrimoine pour l’avenir.La première partie montre comment le chant diphonique prend forme dans sa culture. Perçu comme un art du timbre par ses détenteurs, il entretient des relations avec la nature, ainsi qu’un ensemble de techniques vocales et instrumentales issues des contextes rituel et pastoral. Ces fondements du höömij sont ensuite examinés à la lumière de l’histoire de la Mongolie. Entre les périodes soviétique etcontemporaine, la deuxième partie brosse les changements survenus dans la pratique, entre la scène et l’enregistrement. À côté de l’usage rural, se développe une nouvelle forme professionnelle. Tous ces apports ont façonné le chant diphonique mongol dans son état actuel. La troisième partie étudie la transmission à travers l’enseignement et la patrimonialisation. Les maîtres évoluent entre deux pôles : un village de l’Altaï perçu comme le lieu des origines, et une université d’Ulaanbaatar, qui académise la pratique et diffuse son modèle au niveau national. Tout cela participe au processus de patrimonialisation du höömij, desa constitution en emblème musical sous la période soviétique à son inscription sur la liste du Patrimoine Culturel Immatériel de l’Unesco. Le höömij mongol apparaît dans toute sa contemporanéité / This thesis is an ethnomusicological study on the global transmission of höömij in Mongolia with a historic dimension. In order to explain the evolution of this vocal technique, this dissertation links the legends, the native conceptions, the history from the 1950’s to the begining of the 2010’s and the patrimonialization for the future.The first part shows how höömij takes place in its culture. Perceived as an art of timbre by its bearers, it maintains relations with nature and a set of vocal and instrumental techniques that derive from ritual and pastoral contexts. These foundations of höömij are then investigated in light of Mongolia’s history. Examinging both Soviet and contemporarytimes, the second part looks into the changes that occured in relation to the stage and recordings. Alongside höömij’s rural function, a newer professional form developed, which has primarily shaped contemporary performance.The third part studies transmission as teaching and patrimonialization. Masters evolve between two poles : a village in the Altai perceived as the very place of origins, and a university in Ulaanbaatar, which academicizes the practice and spread its model to the whole nation. All of this contributes to höömij’s patrimonialization process, from the building of a musical emblem under Soviet times, to its registration on Unesco’s Intangible Cultural Heritage list. Mongolian höömij appears in its whole contemporaneity

Este trabalho centra-se na escola de canto de tenor Benito Maresca. A relevância do tema justifica-se: pela existência de um modelo tradicional e não institucional da educação canto lírico no Brasil; b) pelas leituras conflitantes sobre várias escolas nacionais existentes; c) pela falta de documentação sobre vários artistas e métodos de ensino. Devido a muitos artistas e professores da arte lírica não fazerem parte do ambiente acadêmico, há uma lacuna documental sobre o que ensinavam e seu tipo de produção musical e pedagógico. Assim, o objetivo desta pesquisa é o de discorrer sobre o canto da escola de tenor brasileiro Benito Maresca. Intuindo também avançar na literatura sobre o canto lírico no Brasil, a história oral temática foi escolhida como referencial metodológico. O trabalho apresenta: a) um trajeto pessoal do pesquisador, justificando a escolha do tema e metodologia sobre o mesmo, durante diferentes fases de formação e pesquisa musical; b) os aspectos metodológicos presentes para a realização do trabalho; c) a transcrição das entrevistas que envolveram os colaboradores desse trabalho; d, a análise dos relatos colhidos em discussão paralela com fontes de outra natureza que envolvam o tema do canto lírico; e) um ensaio biográfico sobre o tenor, em anexo; f) o livro de exercícios utilizado por Maresca, também em anexo. Esses elementos foram retirados de entrevistas de pessoas que tiveram contato com o tenor em seus últimos dez anos, durante os quais ele já havia se consolidado tanto como tenor, quanto como professor de canto lírico. Como resultado, foi possível listar uma série de elementos subjetivos, para além da técnica vocal utilizada por Maresca, como dados de personalidade, modelo de classe, e relação professor-aluno. / This paper is focused on the tenor Benito Maresca´s singing school. The relevance of the theme is justified by: a) the existence of a traditional, non-institutional model of classical singing education in Brazil; b) the conflicting interpretation about the various singing national schools; c) lack documentation about several artists and teaching methods. Due to the fact that many artists and lyrical art teachers are not inserted in academia, there is a documentary gap about what they taught and their kind of musical and pedagogical production. Thus, the aim of this research is to discourse about the school singing of Brazilian tenor Benito Maresca. Aiming to also advance in the literature on classical singing in Brazil, the thematic oral history was chosen as the methodological framework. The dissertation presents: a) a researcher´s personal statement trajectory, justifying the choice of the subject and the methodology utilized; b, the methodological aspects used; c, the transcription of the interviews with the collaborators; d) an analysis of interviews in a parallel discussion with the sources of other nature involving the theme of classical singing; e) a biographic assay about the tenor and a exercise book used by Mesca, both annexed. These elements were drawn from the interviews with people who had contact with the tenor in his last ten years, when he had already consolidated himself as a tenor and classical singing teacher. As result, it was possible to list a series of subjective elements, in addition to the aspects of vocal technique used by Maresca like the personality data, class model and the relationship between professor and student.

Orientador: Luiz Ricardo Basso Ballestero / Banca: Wladimir Farto Contesini de Mattos / Banca: Josani Keunecke Pimenta / Banca: Alberto José Vieira Pacheco / Banca: Lílian Neto Aguiar Ricz / Resumo: A nasalidade do português brasileiro cantado e falado se caracteriza por uma grande variação articulatória. Com o objetivo de organizar e esclarecer essas múltiplas possibilidades de tratamento articulatório no canto, o presente trabalho investiga o comportamento e a articulação dos processos nasais na fala em português brasileiro, apresenta uma proposta de transcrição fonética para esses sons no canto e evidencia distintas possibilidades de variação articulatória pertinentes à pratica musical. Dessa maneira, estabelece um trajeto que fundamenta o processo de escolha dos símbolos a serem utilizados na representação fonética dos nasais no canto, baseado em estudos fonético-fonológicos da fala e na abordagem articulatória, até a sua aplicação prática, por meio do uso da sílaba melódica em uma proposta alternativa de representação. / The nasality of the Brazilian Portuguese language sung and spoken is characterized by a great articulatory variation. In order to organize and clarify these multiple possibilities of articulatory treatment in singing, the present work investigates the behavior and articulation of nasal processes in Brazilian Portuguese, presents a proposal of phonetic transcription for these sounds in the singing and shows different possibilities of articulatory variation pertinent to musical practice. In this way, it establishes a path that bases the process of choosing the symbols to be used in the phonetic representation of the nasals in the song, based on phonetic-phonological studies of speech and in the articulatory approach until its practical application, through the use of the melodic syllable in an alternative proposal for representation. / Doutor

O objetivo deste estudo foi avaliar os efeitos imediatos da administração da ocitocina (OT) na ansiedade de performance musical (APM) em cantores profissionais, tendose como parâmetro o \"Teste de Simulação de Canto em Público\" (TSCP). Realizouse um ensaio clínico randomizado, duplo cego, cross-over controlado por placebo, tendo como sujeitos 50 cantores profissionais homens, sendo 16% eruditos e 84% populares, com idade média de 28,86 anos e tempo de experiência média de 10,96 anos. Todos os cantores realizaram autoadministração de dose única de 24UI de OT ou placebo por meio de um spray nasal, em sessões diferentes, de acordo com o grupo que foram alocados. Após 51 minutos da administração da OT ou placebo, tempo que coincidiu com o pico de concentração da OT, os cantores realizaram o TSCP, que consistiu em uma performance musical, com interpretação à capela de uma música de livre escolha, por quatro minutos em ambiente controlado. Foram analisadas medidas de indicadores de humor, de desempenho da performance, sinas e sintomas vocais, por meio de escalas de autoavaliação, e análise das medidas acústicas vocais utilizando o software Multi-Dimensional Voice Program Advanced, ao longo de seis fases: Medida Inicial (MI), Medida Basal (MB), Medida Antecipatória (MA), Medida de desempenho (MD), Medida Pós-estresse 0 (MPe0), e Medida Pós-estresse 1 (MPe1). Foi realizada análise de variância ANOVA 2x2 para modelos de estudos cross-over com comparação intra e interssujeitos. Os resultados indicaram que houve efeito do tratamento com OT quando comparado com o placebo durante o TSCP, melhorando a autoavaliação do desempenho nas fases MD, MPe0 e MPe1. Não houve mudanças nos indicadores de humor, sinais e sintomas vocais e nas medidas acústicas vocais avaliadas nos cantores ao longo do TSCP. Para as medidas avaliadas não se evidenciou efeito de sequência e de período. As medidas de separabilidade evidenciaram que o 29% para as medidas de autoavaliação e o 23% para as medidas acústicas da voz, corresponde ao efeito do tratamento com OT, sendo estimada independentemente do efeito carry-over. Em conclusão, a OT apresentou efeito ansiolítico, evidenciando melhora na autoavaliação do desempenho, com ausência de reações adversas quanto aos sinais e sintomas vocais e às medidas acústicas da voz. / The aim of this study was to evaluate the immediate effects of administration of Oxytocin (OT) in the musical performance anxiety (MPA) in professional singers, having the \'Test of Public Singing Simulation\' (TPSS) as parameter. We conducted a double-blind cross-over randomized placebo-controlled clinical trial, with 50 professional male singers as subjects, of whom 16% were erudite singers and 84% were popular singers, with an average age of 28.86 and an average period of experience of 10.96 years. All singers self-administered an only dose of 24UI of OT or placebo via a nasal spray, in different sessions, according to the group they were placed with. After 51 minutes of the OT or placebo administration, time that coincident of peak concentration of OT, the TPSS was performed, which consisted of an acapella musical interpretation of a free choice song for 4 minutes in a controlled environment. Measures of mood indicators were analyzed, as well as performance, vocal signs and symptoms, with self-assessment scales and analysis of voice acoustic measures using Multi-Dimensional Voice Program Advanced software during six stages: Initial Measure (MI), Basal Measure (MB), Anticipatory (MA), Performance Measure (MD), Post-stress 0 Measure (MPe0) and Post-stress 1 Measure (MPe1). An analysis of the ANOVA 2x2 variation was performed for crossover study models with intra- and inter- subject comparisons. The results indicated an effect in the OT treatment when compared with placebo during the TPSS, improving the in stages MD, MPe0 and MPe1. There were no changes in mood indicators, vocal signs and symptoms nor in vocal acoustic measures over the TPSS. Sequence and period effect were not evident for the reviewed measures. Separability criterion presented OT treatment correspondence of 29% for self-evaluation measurements and 23% for voice acoustic measures, which was estimated regardless of the carryover effect. In conclusion, OT had an anxiolytic effect, emphasizing an improvement in self-evaluation concerning performance with no adverse reaction in terms of voice signs and symptoms and vocal acoustic measures.

Este trabalho propõe apresentar uma parte do patrimônio cultural brasileiro inserindo-o no teatro através das brincadeiras cantadas que, por sua vez, a cada dia estão fadadas a caírem no esquecimento. Com a intenção de manter a chama viva dessa cultura popular e mergulhar nessa essência brasileira criou-se um registro sonoro e visual, contendo além do CD, as partituras e a descrição de como se pode brincar e do como efetivamente brincamos. Além disso, uma personagem, intitulada \"Menina\", a qual narra toda a experiência brincante com as brincadeiras selecionadas de dois espetáculos, garante-nos os detalhes teóricos dos recortes dos espetáculos. O primeiro refere-se à peça de Georg Büchner \"Woyzeck\", em uma adaptação de Ingrid Dormien Koudela, chamada \"Ferida Woyzeck\" e o segundo, \"Quero ser grande\", criação coletiva dos alunos da Escola Villare, de São Caetano do Sul - SP. Nos dois casos a \"Menina\" nos conta como a brincadeira cantada está relacionada ao estado do teatro por conter elementos inerentes à linguagem dele, das artes do corpo e da performance. Assim, a pesquisa apresenta o conceito de brincante para defender este estado em cena e aprofundar tais relações com a brincadeira no palco. / This work aims at presenting part of the Brazilian cultural heritage by placing it in the drama through singing games that are doomed to be forgotten. With the purpose of keeping the living flame of the popular culture and diving in its essence, it was created a visual and sound register, containing beyond the CD, the sheet music and the description of how we can play and how we really play. Despite this, a character whose name is \"Menina\", narrates the whole experience of the playing experience, with games selected from two plays, ensuring us the theoretical details of the pieces of the play. The first play is Woyzeck, by Georg Büchner, in an adaptation of Ingrid Dormien Koudela, called \"Ferida Woyzeck\" and the other \"Quero ser grande\", a collective creation by students from Escola Villare, São Caetano do Sul. In both cases, the \"girl\" tell us how the singing game is related to the state of the drama, because it contains elements embodied in its language, body art, performance. In this sense, the research presents the concept of player so as to defend this state on stage and deepen the relations between player and stage.