Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-02T12:29:03Z No. of bitstreams: 1 Carla Rosati Colepicolo.pdf: 1033427 bytes, checksum: d8492a54ef28de7fd281005b92d3bc9b (MD5) / Made available in DSpace on 2018-04-02T12:29:03Z (GMT). No. of bitstreams: 1 Carla Rosati Colepicolo.pdf: 1033427 bytes, checksum: d8492a54ef28de7fd281005b92d3bc9b (MD5) Previous issue date: 2018-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / Introduction: The development of voice research has shown common interests in some areas of knowledge. Singing teachers and speech therapists have approached their knowledges and a joint work can provide a growth for all professionals involved with the singing voice. Objective: to analyze the joint performance of singing teachers and speech therapists in working with singers. Method: intentional sample with five singing teachers and five recognized speech therapists working with the voice of singers. These answered five semi-directed questions that were audio-taped and transcribed. The material was analyzed and categorized. Results: according to the audiologists interviewed, it is up to them to understand the context of the singer; diagnose and carry out actions of prevention and rehabilitation of the voice; work with the physiology and vocal structure. The singing teachers said that the role of speech therapist is to work with health and voice alteration. The vocal orientation was pointed out by the two groups of professionals. According to the singing teachers, their role is to detect the vocal alteration and refer to the other specialist. For speech therapists, only the singing teacher should do the vocal classification and tuning. Expressiveness, musicality, technique, choice of repertoire, style and vocal aesthetics were items indicated by both professionals to explain the role of the singing teacher. The role of adjusting the vocal structure in order to meet the demand was a response considered as the role of speech therapists and singing teachers. The performance among professionals is understood and can happen: independently or complementary and associated or still, with interaction, communication and continuity in the work with singers. Some aspects were mentioned that intercept the relations between these specialists in the performance with related singers: to the vocal well-being; to the context lived by the singers; the roles of professionals; the terminology used; the relevance of the specialty in the singing voice and the counterpoint between science versus art. Conclusion: singing teachers and speech therapists establish different and unique working relationships with singers, characterized by contact, exchanges of knowledge, referrals, support, recognition, joint action and interdisciplinary action. Both vocal teachers and speech therapists say they need to work together because they understand that the other professional can develop the vocal aspect or adjust the vocal apparatus of the singers identified in their evaluation with more precision, more effectiveness or more specificity / Introdução: o desenvolvimento da pesquisa em voz cantada tem mostrado interesses comuns por parte de algumas áreas do conhecimento. Professores de canto e fonoaudiólogos têm aproximado seus saberes e um trabalho conjunto pode proporcionar um crescimento para todos os profissionais envolvidos com a voz cantada. Objetivo: analisar a atuação conjunta de professores de canto e fonoaudiólogos no trabalho com cantores. Método: amostra intencional com cinco professores de canto e cinco fonoaudiólogos reconhecidos no trabalho com a voz de cantores. Esses responderam a cinco perguntas semi-dirigidas que foram áudio-gravadas e transcritas. O material foi analisado e categorizado. Resultados: de acordo com os fonoaudiólogos entrevistados, cabe a eles entender o contexto do cantor; diagnosticar e realizar ações de prevenção e reabilitação da voz; trabalhar com a fisiologia e estrutura vocal. Os professores de canto falaram que o papel do fonoaudiólogo é trabalhar com a saúde e alteração vocal. A orientação vocal foi apontada pelos dois grupos de profissionais. Segundo os professores de canto, o papel dos mesmos é de detectar a alteração vocal e encaminhar ao outro especialista. Para os fonoaudiólogos, somente o professor de canto deve fazer a classificação vocal e afinação. A expressividade, musicalidade, técnica, escolha do repertório, o estilo e estética vocal foram itens indicados por ambos os profissionais para explicar o papel do professor de canto. O papel de ajustar a estrutura vocal a fim de atender a demanda foi uma resposta considerada como papel de fonoaudiólogos e professores de canto. A atuação entre os profissionais é entendida e pode acontecer: de forma independente ou complementar e associada ou ainda, com interação, comunicação e continuidade no trabalho com cantores. Foram citados alguns aspectos que interceptam as relações entre esses especialistas na atuação com cantores relacionados: ao bem-estar vocal; ao contexto vivido pelos cantores; aos papéis dos profissionais; a terminologia utilizada; a relevância da especialidade na voz cantada e o contraponto entre ciência versus arte. Conclusão: professores de canto e fonoaudiólogos estabelecem entre si diferentes e peculiares relações de atuação no trabalho com cantores, se caracterizando pelo contato, por trocas de conhecimento, encaminhamentos, apoio, reconhecimento, atuação conjunta e atuação interdisciplinar. Tanto professores de canto como fonoaudiólogos dizem indicar e necessitam de um trabalho conjunto porque entendem que o outro profissional poderá desenvolver o aspecto vocal ou fazer o ajuste do aparelho vocal dos cantores identificado em sua avaliação com mais precisão, mais efetividade ou mais especificidade

The problem with which this investigation is concerned is that of developing a theory in vocal pedagogy, voiception, which could provide teaching techniques with tangibility for gaining control of both voluntary and involuntary functions of the singing act. This study appears to show that feeling tone and cognition are innately involved with singing, since the vocal instrument is actually a part of the singer. Analysis of the sung vowel through the singing sensation is the connecting link for gaining control of involuntary vocal functions.

Syftet med föreliggande självstudie har varit att undersöka huruvida yoga kan hjälpa mig att få ordning på min oregelbundna bröstkorgsandning samt om en förbättrad viloandning skulle kunna underlätta andningen i mitt sångutövande. Studien genomsyras av ett fenomenologiskt perspektiv med livsvärldsteorin och kroppens fenomenologi som grund. Eftersom perspektivet ses som en erfarenhetsfilosofi ställs mina egna upplevelser i fokus, vilket motiverar dokumentationssmetoden loggbok.  Resultatet grundar sig således på egna loggboksanteckningar, vilka efter en 15 veckors projektperiod bearbetats och analyserats för att försöka synliggöra yogans effekt. Vidare presenteras resultatet i två teman, varpå det första ringar in upplevelser kopplade till stress och andning medan det andra inriktar sig på sångupplevelsen och hur denna förändrats under projektperiodens gång. Resultatet visar att yogan haft en stressreducerande effekt, vilket påverkat andningen positivt samt att sjungandet upplevs lättare, vilket leder till ökad motivation. För att söka förstå dessa fenomen förs avslutningsvis en diskussion där resultatet kopplas till tidigare forskning och litteratur. Diskussionen leder fram till slutsatsen att flera faktorer, så som ökad aktivitet i det parasympatiska nervsystemet, ökad energiproduktion som ett resultat av en förbättrad andning, ökad avslappning samt ökad kropps- och röstkontroll som ett resultat av ett medvetet handlande, haft en samverkande påverkan på utfallet. / The purpose of this self-study has been to investigate whether yoga can help improve my irregular thoracic breathing and if an improved respiration could facilitate better breathing in my vocal exercise. The study is permeated by a phenomenology perspective with focus on phenomenology of the body and Husserl's life-world theory. As the perspective is viewed as an experience philosophy, my own experiences are in focus, which motivates logbook as documentation method. The result is therefore based on my own notes, which were processed and analysed after a 15-week project-period, with the purpose to make the effects of the practised yoga visible. The result is presented in two themes, were the first one focuses on experiences related to stress and breathing, and the other one on the singing experience and how this experience changed during the project period. The result shows that the exercise of yoga had a stress-reducing effect, which positively affected my breathing. In addition, it shows that I found it easier to sing, which leads to increased motivation. To understand these phenomena, a discussion is held, linking the results to previous research and literature. The discussion leads to the conclusion that several factors, such as increased activity in the parasympathetic nervous system, increased energy production as in part of an improved breathing, increased relaxation, and increased body and voice control as a result of conscious acts, had a coherent impact on the outcome.

O objetivo deste trabalho é comparar o padrão formântico da fala atuada com o canto no teatro popular em São Paulo, com base nos estudos de Raposo de Medeiros (2002) e Sundberg (2015). Definiu-se a fonética acústica como área de estudo para a escolha do método, bem como para as análises dos aspectos acústicos investigados. Quanto ao método, o primeiro passo foi selecionar a canção Enchente, da peça Hospital da gente, que pertence ao repertório do Grupo Clariô de Teatro. Em seguida, realizou-se a coleta de dados da qual participou uma atriz profissional, de 33 anos. Solicitamos à atriz que cantasse e falasse o texto da canção como se estivesse no palco. A fala produzida pela atriz apresentou duas características distintas: em alguns momentos foi executada de forma gritada e, em outros momentos, de forma não-gritada, que nomeamos de fala normal. A fala gritada nos chamou à atenção, e consequentemente, despertou-nos o interesse em observar esse aspecto de qualidade de voz, em nossos dados. Após a gravação, tratamento e segmentação dos dados, medimos e comparamos qualitativamente os três primeiros formantes, F1, F2 e F3, bem como a Frequência Fundamental, F0, das vogais do PB na posição tônica, em sua porção mais estável. Com a emergência dos dados de fala gritada, vimos, então, a necessidade de o corpus ser aumentado com uma terceira condição de gravação, a condição de fala neutra, que não pode ser coletada pela atriz por motivos de falta de agenda. Assim, coletamos os dados da autora desta pesquisa para ser utilizada como parâmetro nas análises de qualidade de voz. Em um análise qualitativa foi possível dizer que as vogais da fala apresentam variação em sua produção, o que resulta em valores muitos diferentes intra vogais, por exemplo entre as vogais [e]. Já no canto foi possível perceber que as vogais [a], [] e [] apresentam seus valores mais concentrados, enquanto as demais vogais cantadas, as vogais altas, tendem a mostrar valores mais dispersos mesmo quando cantadas. A qualidade de voz da atriz varia ao longo do texto, mas as ocorrências de fala gritada possuem o F1 elevado; uma das característica descritas na literatura para descrever esse tipo de fala. Essa dissertação tenta aproximar estudos acadêmicos da área linguística, com o movimento artístico da periferia de São Paulo, com o intuito de apresentar aos artistas como a fonética acústica pode auxiliá-los em suas composições, no sentido de dar um pouco de clareza de como funciona o processo de produção de fala. / The objective of this work is to compare the formant pattern of speech with singing in the popular theater in São Paulo, based on studies by Raposo de Medeiros (2002) and Sundberg (2015). Acoustic Phonetics was defined as a study area both for the methodology and for the analysis of acoustic aspects investigated. As for the method, the first step was to select the song \"Enchente\" from the play \"Hospital da Gente\" which belongs to the repertoire of the Clariô Theater Group. Then, a data collection was performed, with the participation of a 33 years old professional actress. We asked the actress to sing and speak the text of the song as if she were on the stage. The speech produced by the actress presented two distinct characteristics: in a few moments she performed it in a shouted way and, at other times, in a non-shouted way, that we call normal speech. The shouted speech caught our attention, and consequently aroused our interest in observing this aspect of voice quality, in our data. After recording, treatment and segmentation of the data, we measured and compared the first three formants, F1, F2 and F3, as well as the Fundamental Frequency, F0, of the PB vowels in the tonic position, in their most stable portion. With the emergence of shouted speech data we then saw the need for the corpus to be increased with a third recording condition, the neutral speech condition, which could not be collected with the actress due to her full agenda. Thus, we collected data from the author of this research to be used as a parameter in the analysis of voice quality. In a qualitative analysis it was possible to say that speech vowels present variation in their production, which results in many different intra vowel values, for example between vowels [e]. In the song it was possible to perceive that the vowels [a], [] and [] present their most concentrated values, while the other vowels sung, the high vowels, tend to disperse even when sung. The voice quality of the actress varies throughout the text, but the shouted speech occurrences have high F1; one of the characteristics described in the literature to describe this type of speech. This dissertation tries to approximate academic studies of the linguistic area, with the artistic movement of the periphery of São Paulo, in order to present to the artists how acoustic phonetics can help them in their compositions, in the sense of giving a little clarity of how it works the process of speech production.

Singing exaggerates the language of reading. The students find their voices in the rhythm and bounce of language by using music as an alternative text. A concurrent mixed methods study was conducted to investigate the use of an interactive sing-to-read program Tune Into Reading (Electronic Learning Products, 2006) as an alternative text, embedded within a heterogeneous music classroom. Measured by the Qualitative Reading Inventory-4 (QRI-4) (Leslie & Caldwell, 2006), the fluency, word recognition, comprehension, and instructional reading level of the treatment students were compared to their counterparts who sang as part of the regular music program. Concurrently, this investigation also provided a description of the peers’ interactions during the literacy task assigned by the music teacher. The intent of this study was to address the following three research questions. First, what is the difference in reading outcomes for students who used the singing software verses the students who sang as part of their regular music curriculum? Second, are the reading outcomes different when the students were grouped by FCAT reading levels? Third, how do the peers interact during the literacy task of singing to read? The first two questions addressed the quantitative phase of this study to assess the collective differences on the dependent variables overtime and by group. The qualitative phase in this study used an interpretive case study approach to describe peer interactions during the assigned literacy task. The study findings suggest that rereading through singing, using the interactive singing program, Tune Into Reading, was more effective regardless of the reading levels for treatment students compared to control students. In addition, prosody appeared to have a direct connection to reading comprehension. Furthermore, the use of the interactive program provided opportunities for differentiated reading level achievement. Finally, group dynamics highly influenced the early adolescent’s motivation, engagement, participation, and successful outcomes in reading fluency.

The standard vocal repertoire for soprano requires use of the uppermost segment of the female voice, which is typically produced using whistle register phonation. Voice teachers recognize that sopranos use whistle register phonation during performance to produce pitches in the highest segment of their range; however, the use of whistle register phonation as a training tool for female singers of all voice types is less common and the benefits of using whistle registration exercises to condition the female voice are not widely known. While several pedagogical manuals recommend vocal exercises that use whistle register phonation in the range of the second passaggio and in the highest segment of the female voice, no research has been conducted to investigate the benefits of singing in whistle register. The purpose of this study was to measure the efficacy of vocal exercises that incorporate whistle register phonation as treatment for poor intonation and pressed and/or breathy vocal quality in female singers with vocal challenges in the second passaggio of their voice. The influence of whistle register phonation on extending vocal range was also investigated. A treatment-no treatment (ABAB) research design was used. Five female vocalists attended 16 weekly sessions. During the treatment phases, participants received weekly instruction in vocal exercises using whistle register phonation and practiced these activities daily. Audio samples of two vocal exercises and a repertoire excerpt were collected weekly. Measurements taken during the treatment phases were compared to measurements taken during the no-treatment phases. Results of comparative Voice Range Profiles and a weekly Range Extension Measurement Task showed a positive relationship between practice of whistle register exercises and an increase in the upper pitch range in all subjects. Subjects gained an average of 2.4 semitones during Treatment Phase 1, when the whistle register tasks were introduced. Subjects lost an average of 1.2 semitones during the No Treatment phase, when the practice of whistle register tasks was withdrawn. Subjects gained an average of 2.2 semitones during Treatment Phase 2, when the whistle register tasks were reintroduced. The average overall gain in the upper pitch range was +4.3 semitones for mezzo-sopranos and +2 semitones for sopranos. In addition, data collected to measure the pitch range over which whistle register phonation was possible showed an average range of 14 semitones (D5 - E6); supporting the notion that whistle register phonation is possible in the range of the second passaggio and could be developed in this range by female singers of all voice types. Eight voice teachers rated each audio sample for intonation and vocal quality during register transition through the second passaggio. Mixed-model ANOVA (analysis of variance) was conducted to compare the effect of whistle register phonation exercises on quality of intonation, vocal quality, the presence and severity of breathiness, and the presence and severity of strain at each phase of the study. Significance was determined at the p<.05 level. There was a significant effect of whistle register phonation exercises on severity of Breathiness [F(3,209) = 6.66, p = 0.0003]. Mean severity ratings for Breathiness for all subjects were significantly lower during No Treatment than in Treatment Phase 1 and Treatment Phase 2, suggesting that breathiness was less severe when the subjects were not practicing whistle register exercises. Severity of strain generally decreased continually throughout all phases. Mean severity ratings for Strain were consistently lower for Treatment Phase 1, No Treatment, and Treatment Phase 2 compared to Baseline. The differences between Treatment Phase 1, No Treatment, and Treatment Phase 2 were statistically significant [F(3,209) = 3.52, p = 0.0161]. Mean Intonation ratings generally increased through Treatment Phase 1 and were significantly higher for the No Treatment phase and Treatment Phase 2 compared to Baseline [F(3,209) = 2.99, p = 0.0322]. The effect of whistle register phonation exercises on vocal quality was not significant at the p<.05 level. A Pearson Correlation Coefficient (PCC) was used to calculate the intra-judge reliability for perceptual evaluation of all vocal tasks. Statistical analysis comparing the judges' ratings for identical audio samples shows that in this study the judges were consistent in their rating of Breathiness (PCC = 0.76) and had difficulty rating Strain (0.57), Vocal Quality (0.60), and Intonation (0.65). A PCC was used to calculate the correlations between each pair of judges' rating for all vocal tasks, and Cronbach's Alpha was used as an overall measure of the inter-rater reliability. Statistical analysis comparing the judges' ratings for all audio samples shows that in this study the judges were consistent in their rating of Breathiness (α = 0.80), mediocre in rating Strain (0.62) and Vocal Quality (0.69), and not consistent in their rating of Intonation (0.53). The results of the current study suggest that whistle register exercises can be used to facilitate range extension for all female voice types. That performance of whistle register phonation exercises correlated to increased breathiness implies that the exercises tested in this study may not be an effective treatment for singers with breathy voices. Further research investigating the influence of whistle register exercises on intonation, overall vocal quality, and severity of strain is needed. Results of the intra- and inter-rater reliability tests demonstrate a need for research that explores more reliable ways to quantify perceptual evaluation of vocal quality in singers.

Mothers care for their infants in various ways, many similar and others more unique, and are influenced by a variety of factors. Influences such as doctors' advice, attending prenatal and child development classes, reading books and magazines, and learning from personal experience contribute to the caregiving decisions mothers make. A type of parenting that focuses on the responsiveness and sensitivity of the mother to the infant's needs is known as natural parenting. Natural parenting involves caregiving practices that are expected to co-occur, such as breastfeeding and frequently maintaining close physical contact with the infant. Two other practices that some mothers find "intuitive" and natural are co-sleeping and singing. Singing, in particular, may or may not be related to natural parenting, but has been found to be culturally universal and offers benefits to the infant's health and development. In this study mothers of 2- to 6-month-old infants were asked about specific caregiving practices, such as feeding, sleeping, carrying, and singing. Mothers' responses were analyzed using quantitative and qualitative methods. The quantitative responses show how one kind of caregiving decision, such as feeding method, is related to other caregiving decisions, such as where the baby sleeps or whether to sing to the infant. The qualitative ratings delve further into the sources of information and decisions mothers make in their caregiving practices. Practitioners and health agencies may benefit in promoting practices that are beneficial to mothers and infants by knowing how caregiving practices and decisions are related.

Structure of songs and organization of singing in 133 Fox Sparrows Passerella iliaca were studied during 2 breeding seasons in 3 geographically separate populations in northern Utah and southern Idaho. The structure of songs was analyzed with the aid of an audiospectrograph. The organization of the singing of songs in 56 birds was analyzed by applying Markov chain analyses to the sequences of songs uttered. Songs were composed of sy lla bl e- types , of which 49 were recognized. Syllabl e- types could occur sing ly or be seria lly repeated within songs, but they were never fractured so that onl y a portion of one wo ul d be in evidence. Songs were categorized into 5 major types (A, B, C, D, and E) on the basis of the uniformity amo ng individuals in the sequences of sy llable-types which were used to form so ngs . Most song-types were easily characterized by a particular sequence of syllable- types used in forming the terminal portions of the songs, but song-type D was most easily characterized by a sequence of syllable-types near the beginning of the song. Although the sequences of syllable-types forming songs were sufficiently distinct so that the songs could be assigned to a particular major song-type, there were consistent variations among individuals in the sequences of syllable-types composing their songs. Such variants were termed song-versions. The variation in the syllable-types composing songs tended to be restricted to the first halves of the songs. About one half of all the individuals recorded sang more than one version of some particular song-type, usually B or C. Individual birds used a mean number of 8.2 syllable-types in the formation of each song. The mean number of syllable-types used in forming song-types A, B, C, D, and E in 1973 and 1974 were 7.5 -7.7, 8.5-7.6, 7.8-7.8, 9.4-9.4, and 9.0-7.5, respective ly. Few variations were evident among individuals in the mean number of syllable-types or song-types that constituted their repertoires. Differences in the mean number of syllable-types composing similar song-types were al so of little magnitude. Significant differences were evident in the number of syllable-types possessed by individuals having repertories of 2, 3, and 4 songs. Those birds which possessed the largest repertoires of songs exhibited the greatest number of syllable-types. Six color-banded individuals did not change the size or structure of their syllable-type or song-type repertoires during the year or between years. Singing was organized into discrete bouts in which each song of an individual tended to be presented with equal frequency of occurrence. The ordering of songs within singing bouts occurred in particular sequences, with each song being sung once. After a bird had sung all of its songs once, it would begin the sequence over again. The order in which a bird presented its songs did not change with the passage of time, it was not related to the song-types the bird possessed, and it did not appear to be affected by the sequence of songs being sung by neighboring Fox Sparrows. Markov cha in analysis of the ordering of songs described the sequencing as a first-order Markov chain in all but three birds. A higher order Markov chain was most appropriate for those three birds which were not described by a first-order Markov chain. Intra- and interpopulation variations in most of the parameters of song which were considered demonstrated little variation within any of the 3 populations between years or among populations in either of the 2 years . Cluster analyses of the geographic distribution of syllabletypes and song-types reiterated that the incidence of syllable-types and song-types tended to be uniform within and among the populations. The most distinctive group of individuals, based upon the presence or absence of syllable-types and song-types, was the northernmost population. The southernmost population of birds tended to demonstrate the most variability in their possession of syllable-types and song-types. Comparison of the structure of song in Fox Sparrows with other species of the Emberizidae showed that Fox Sparrows' song structuring was not directly analogous to that of any other emberizid, although the structures of Fox Sparrow songs and syllable-types were not sufficiently different that they could not be recognized as belonging to a member of the Emberizidae. The structure of Fox Sparrow song is most similar to that of their nearest relatives, Melospiza, especially M. melodia, whereas song structuring in Fox Sparrows is less similar to that in the species of the genera Zonotrichia and Junco. The variations which were present in the structure of individuals' songs and the geographic distributions of syllable-types and song-types were considered to reflect geographic variation rather than dialects. It is proposed that Fox Sparrows learn their songs early in life, as does Zonotrichia leucophrys, and that song may encode messages which allow others to recognize the singer's sex, location, marital status, motivation, and species and individual identity. It is suspected that Fox Sparrow songs do not have great capability of conveying the population affiliation of the singer. It is proposed that the various songs of individual Fox Sparrows are of equal valence with respect to intraspecific interactions, and that this suspicion associated with other factors concerning the organization of singi ng in Fox Sparrows indicates the order in which a bird presents its songs is learned early in life and it is retained unaltered.

Master of Applied Science / The aim of this investigation was to investigate the effects of computer-based visual feedback in the teaching of singing. Pitch accuracy, a readily-measured parameter of the singing voice, was used in this study to gauge changes in singing for groups with and without visual feedback. The study investigated whether the style of feedback affects the amount of learning achieved, and whether the provision of concurrent visual feedback hampers the simultaneous performance of the singing task. The investigation used a baseline–intervention–post-test between-groups design. Participants of all skill levels were randomly assigned to a control group or one of two experimental groups – with all participants given one hour of singing training. At intervention, the two experimental groups were offered one of two different displays of real-time visual feedback on their vocal pitch accuracy, while control participants had a non-interactive display. All sessions were recorded, and the vocal exercise patterns performed at baseline, intervention and post-test phases were acoustically analysed for pitch accuracy. Questionnaires assessed both general health and the amount of singing and music training of all participants; people in the two experimental groups were also given a further questionnaire about the visual feedback. The results indicate that visual feedback improves pitch accuracy in singing. Cognitive load related to the decoding of visual information was a factor at intervention. At post-test, the two groups who had used real-time visual feedback demonstrated marked improvement on their initial pitch accuracy. There was no significant difference between the results of participants from the two experimental groups, although the participants with some background in singing training showed greater improvement using a simpler visual feedback design. The findings suggest that a hybrid approach integrating standard singing teaching practices with real-time visual feedback of aspects of the singing voice may improve learning.

Focusing on "The Yellow Wallpaper" (1892) by Charlotte Perkins Gilman and The Singing Detective (1986) by Dennis Potter in dialogue with theories from Freud, Szasz, Foucault and Butler, my thesis considers the role of medicine in encouraging a patient toward a normative subjectivity. The protagonists of each text have become ill as a result of their inability to accept the social contradictions and lies upon which gendered subjectivity is reliant; the unnamed narrator of "The Yellow Wallpaper" comprehends femininity as servitude to male demands, while Marlow of The Singing Detective desires the power patriarchy offers him as a male, but his loss of belief and faith prevent his ascension to masculine status.Both the narrator of "The Yellow Wallpaper" and Marlow resist the imposition of normative gender by practitioners of mainstream medicine. Therefore, a more complex and subtle method of treatment, the psychoanalysis developed by Freud, is employed in The Singing Detective, thereby encouraging the patient to identify illness and discontent as personal, not societal, responsibility.I commence the thesis with an overview of the unequal power relations presupposed and encouraged by medical discourse. Through a process of 'hystericisation' the patient is infantilised and made dependent upon medical care. Linguistic control is central to manipulating patient behaviour within the hospital, and correspondingly the narrator of "The Yellow Wallpaper" and Marlow both seek a new subjectivity through their writing. Difficulties in appropriating language leads to internal incoherency for the protagonists, met by a split subjectivity - a defence mechanism which allows the protagonists to deviate from, at the same time as preserving, their 'good self'.The refusal of "The Yellow Wallpaper's" narrator to relinquish her defiant self and assume femininity is contained by patriarchy - embodied by her husband, John - as insanity. The strict limitation upon a nineteenth-century woman's expression prevents her from positively escaping her physician/husband's script leading to her mental demise. By contrast, Marlow successfully resocialises himself by modifying the hypermasculine persona he idealises, and is finally situated to confront and reform the social contradictions that precipitated his ill-health. However, subdued by having been led to identify discontent as a personal problem, Marlow is unlikely to challenge the power relations which have made his subjectivity possible. His capitulation to normalisation demonstrates a fundamental point linking the otherwise divergent theories of Freud and Foucault, that the creation of agency first requires the subject's subordination.