Made available in DSpace on 2016-04-27T18:12:29Z (GMT). No. of bitstreams: 1 Enio Lopes Mello.pdf: 2037255 bytes, checksum: 377e9a7308d424df4b5ca06826cf24f6 (MD5) Previous issue date: 2008-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The motor coordination is the ability for organizing the movement in time and space. This organization is the result of integration between brain command and muscles and articulations motor units. So the motor answers happen in muscle chains where a stimulus sets in motion a muscle and this in his turn sets in motion another muscle, and so on and so forth. We started from the notion that the singing voice is not the result of one organ but it is the result of a group of structures that coordinate themselves. Objective: to investigate the effect of the application of a Motor Coordination Development Program (MCDP), elaborated by the researcher, based on Piret and Béziers, in the voice of the lyric singer. Method: this research counted on the participation of five professional lyric singers. The singers executed an aria of opera of free choice that was filmed pre and post intervention. They also answered on the proprioception when singing as well as pre and post MCDP exercises. During one month they were submitted to the MCDP that mainly worked on the structure of the straight system and crossed system. The videos were sent to nine professional judges (speech therapist, physical therapist and singing teachers) and three laypeople. The Judges made audio perception and visual analysis to evaluate the body / voice integration of the singers. The singers made auto-evaluation right after attending the two filmings. Result: judge s evaluation: the mezzo-soprano improved the projection of the voice and corporal gestures were free; the bass improved the projection of the voice and breath; the soprano (b) improved the projection of the voice and the gestures were freer; the tenor improved the resonance and the gestures were freer; soprano (a) improved the projection of the voice and the gestures were freer. According to the singers report, the MCDP exercises guaranteed greater perception of the muscular tension when singing and it made possible a better control of gestures. Conclusions: the postural adjustments deriving from the execution of the motor coordination exercises guaranteed greater opening of the thoracic cavity and improved the conditions of the singers breath. This favored the verticalization of the resonance and projection of the voice / A coordenação motora é a capacidade de organização do movimento no tempo e no espaço. Essa organização decorre da integração entre o comando cerebral e as unidades motoras dos músculos e articulações. As respostas motoras acontecem em cadeias musculares, onde um estímulo aciona um músculo e este por sua vez aciona um segundo e assim sucessivamente. Parte-se da noção de que a voz cantada não é resultado de um único órgão, mas sim, de um conjunto de estruturas que se coordenam. Objetivo: investigar os efeitos da aplicação de um Programa de Desenvolvimento da Coordenação Motora (PDCM), elaborado pelo pesquisador, baseado em Piret e Béziers, na voz do cantor lírico. Método: esta pesquisa contou com a participação de cinco cantores líricos profissionais. Os cantores executaram uma ária de ópera, de livre escolha, que foi filmada e responderam sobre a propriocepção ao cantar, pré e pós-intervenção. Durante um mês se submeteram ao PDCM, que priorizou a estruturação do sistema reto e o sistema cruzado. As filmagens foram enviadas para nove juizes profissionais (fonoaudiólogos, fisioterapeutas e professores de canto) e três leigos. Os Juízes fizeram análise perceptivo-auditiva e visual, para avaliar a integração corpo e voz dos cantores. Os cantores, após assistirem as duas filmagens fizeram autoavaliação. Resultado: na avaliação dos juízes: mezzo-soprano melhorou a projeção da voz e os gestos corporais ficaram livres; baixo melhorou a projeção da voz e a respiração; soprano(b) melhorou a projeção da voz e os gestos ficaram mais livres; tenor melhorou a ressonância e os gestos ficaram mais livres; soprano(a) melhorou a projeção da voz e os gestos ficaram mais livres. Segundo relato dos cantores, os exercícios do PDCM garantiram maior percepção da tensão muscular durante o canto e isso possibilitou melhor controle dos gestos. Conclusões: os ajustes posturais, oriundos da execução dos exercícios da coordenação motora, garantiram maior abertura da caixa torácica e melhoraram as condições da respiração dos cantores, durante o canto, isso favoreceu a verticalização da ressonância e a projeção da voz

Made available in DSpace on 2014-07-29T16:25:10Z (GMT). No. of bitstreams: 1 Dissertacao Cristiano A da Costa.pdf: 323478 bytes, checksum: 97e3d66563f318a24d3f05ce60eb5f23 (MD5) Previous issue date: 2010-11-19 / This research, of qualitative paradigm, is characterized as a bibliographical and documentary research. It was searched for historical, political and methodological information regarding the "Draft Orpheonic Singing" in Brazil looking, in the goals set for this style of musical teaching, for possible influences and/or ideological indoctrination of government prevailing in this period in Brazil. The data were analyzed based on Paulo Freire's Liberating Pedagogy. The overall objective is to demonstrate that musical activity of the "Project Orpheonic Singing" by Villa-Lobos, was used primarily as a means to instill ideology and not as an activity able to develop creativity and critical-reflexive consciousness of the student, real function of the music in the individual s formation. Thus, a critical analysis of the main objectives and also the music and text of three songs from the textbooks of that project was made considering Paulo Freire's Liberating Pedagogy. / Esta pesquisa, de paradigma qualitativo, caracteriza-se como uma pesquisa bibliográfica e documental. Nela foram buscadas informações históricas, políticas e metodológicas a respeito do Projeto Canto Orfeônico no Brasil procurando, nos objetivos traçados para essa modalidade de ensino musical, possíveis influências e/ou inculcação ideológica do governo vigente neste período no Brasil. Os dados foram analisados à luz da Pedagogia Libertadora de Paulo Freire. O objetivo geral é demonstrar que a atividade musical do Projeto Canto Orfeônico , de Villa-Lobos, foi prioritariamente utilizada como meio para incutir ideologias e não como uma atividade capaz de desenvolver a criatividade e a consciência crítico-reflexiva do educando, real função da música na formação integral do indivíduo. Para tal foi feito, à luz da Pedagogia Libertadora de Paulo Freire, uma análise crítica dos objetivos principais e, também, da música e texto de três canções do material didático do referido projeto.

Este trabalho investigou a questão da desafinação vocal infantil em alunos de uma escola pública de Ensino Fundamental na cidade de Barueri, São Paulo. Essas crianças não conseguiam cantar de maneira satisfatória, apesar da prática do canto coletivo e dos modelos vocais do professor e do colegas nas aulas de Música da escola. Adotada a metodologia da pesquisa-ação (Thiollent, 2008), foram investigadas as causas do problema e tomadas novas medidas pedagógicas que culminaram na elaboração de um programa de atividades vocais. O referencial teórico que serviu de base para esta pesquisa está apoiado nos trabalhos de GARDNER (2002), ILARI (2006), FORCUCCI (1975), LECK (2002), SOBREIRA (2003), RAO (1996-2005), TELFER (2003) e GOETZE (2003). Os resultados do trabalho foram positivos, revelando a possibilidade de melhorar o problema da desafinação em alunos da escola básica, mediante um atendimento individual e ênfase na prática do canto coletivo desde os primeiros anos escolares. / This work investigated the question of the infantile vocal discord in pupils of a public school of Basic Education in the city of Barueri, São Paulo.These children did not obtain to sing in satisfactory way, although of the collective singing practice and of the vocal models of the professor and the colleagues in the lessons of music of the school. Adopted the methodology of the research-action (Thiollent, 2008), was investigated that the causes of the problem and new pedagogical measures had culminated in the elaboration of a program of vocal activities. The theoretical referencial that served of base for this research is supported in the works of GARDNER (2002), ILARI (2006), FORFUCCI (1975), LECK (2002), SOBREIRA (2003), RAO (1996-2005), TELFER (2003) and GOETZE (2003). The results of the work had been positive, disclosing the possibility to improve the problem of the discord in pupils of the basic school, by means of an individual attendance and the emphasis in the practice of collective singing since the first pertaining to school years.

Esta dissertação apresenta um estudo de aspectos históricos e conceituais do sprechgesang (canto falado) usado por Arnold Schoenberg no seu melodrama Pierrot Lunaire, op 21. O estudo tem por finalidade principal apresentar sugestões de interpretação para a execução da obra quando adaptada ao texto recriado para o idioma português pelo poeta Augusto de Campos. Inicialmente são apresentadas três trajetórias históricas: a primeira enfoca a transformação do personagem Pierrot através dos tempos e regiões da Europa, a segunda, a evolução do uso da declamação no gênero literomusical melodrama, e a terceira, a presença do gênero melodrama na evolução da obra de Arnold Schoenberg. Em seguida, são estudados aspectos conceituais específicos de Pierrot Lunaire por meio de elaboração de análises comparativas. Três interpretações da obra, registradas em cd comercial por artistas consagradas, são usadas como objeto de estudo para estas análises, cujo interesse maior se concentra na compreensão das múltiplas possibilidades de leitura do sprechgesang. Por fim, como aplicação prática dos conceitos estudados neste trabalho, foi criada, em parceria com a cantora Erika Muniz, uma interpretação para o sprechgesang de Pierrot Lunaire adaptado ao português. / This dissertation presents a study on conceptual and historical aspects of Arnold Schoenberg\'s use of Sprechgesang (speech-singing) in his melodrama Pierrot Lunaire, op. 21. The study aims primarily at building up interpretative patterns for a particular version of the piece - adapted to a recreation of the text in Portuguese by the poet Augusto de Campos. Initially, three historical approaches are presented: the transformation of Pierrot through time and places in Europe; the evolution of the use of recitation in the \"literary-musical\" genre melodrama; and the presence of the genre melodrama in Arnold Schoenberg\'s work. Then, specific conceptual aspects of Pierrot Lunaire are studied through comparative analysis. For this, three interpretations of the piece, recorded in commercial CDs by recognized artists, are used as object. The analysis focuses chiefly on comprehending the multiple reading possibilities of Sprechgesang. Finally, in order to apply the concepts studied in this work, an interpretation for the Sprechgesang in Pierrot Lunaire adapted to Portuguese was created. This was done in a partnership with the singer Érika Muniz.

Made available in DSpace on 2016-04-28T18:22:39Z (GMT). No. of bitstreams: 1 Cristina Canhetti Alves.pdf: 3750711 bytes, checksum: ec334f5a96cbf0bd7cd856943b9cae19 (MD5) Previous issue date: 2013-03-19 / Fundação de Amparo a Pesquisa do Estado de São Paulo / Aiming at investigating the effects of the usage of metaphors in singing voice production from acoustic and articulatory (vocal tract imaging) descriptions among women, singers and non-singers, this research was developed based on two experiments. Experiment 1 referred to a case study (woman, non-singer, without voice disorder) based on acoustic and vocal tract image analysis (videofluoroscopy). Experiment 2 was based on acoustic analysis of utterances from 10 subjects (5 singers and 5 non-singers). For both experiments, the recordings of the folklore song Sapo Jururu in four different tasks: without and with instructions, the latter based on metaphors (prism, cathedral and flying saucer) were analyzed. For vocal tract image data analysis, measures of labial opening (absolute and normalized), jaw opening, distance from the back of tongue-pharynx and back of tongue-palate were extracted by means of Osiris software. For the acoustic analysis of the data, measures of the formant frequencies (F1, F2, F3) of the vowels ([a], [i], [Ɛ] e [u]) were extracted by means of Praat software in experiment 1. Experiment 2 consisted on the extraction of F1, F2, F3 measures of the vowel [a] (in the repetitions of sapo ) and on the analysis of the three repetitions of the folklore song by ExpressionEvaluator script running into Praat software to extract arousal, f0 (median, interquartile semi-amplitude, quantile 99.5% and skewness), first f0 derivate (mean, standard deviation and skewness), intensity (skewness), spectral slope (mean, standard deviation and skewness) and LTAS (standard deviation) measures. The findings of both experiments were submitted to multivariate statistical treatment (factorial analysis, agglomerative hierarchical clustering, canonical correlation, discriminant analysis and linear regression). The vocal tract image data revealed increased labial and jaw opening, centralized tongue body and pharyngeal expansion in the cathedral metaphor. For the prism metaphor, increased labial opening and pharyngeal constriction were found. For the flying saucer metaphor, decreased labial and jaw opening, raised tongue body, and pharyngeal expansion were found. The acoustic analysis showed differences in the formant pattern, mainly to the cathedral and flying saucer ones, supported by findings of experiment 2. The statistical analysis showed that mobilizations elicited by metaphors were better defined through image analysis in experiment 1 and by the acoustic measures generated by ExpressionEvaluator script in experiment 2, especially for f0 (median and quantile 99.5%), intensity (skewness) and spectral slope (mean and standard deviation). The differentiations among groups in experiment 2 were reinforced by ExpressionEvaluator and F1, F2, and F3 acoustic measures. The arousal was the factor which showed inter-subject differences. The phonetic approach of the data showed that metaphors lead to differentiated vocal tract adjustments, mainly for cathedral and flying saucer methaphors, revealed by articulatory (measures of videofluoroscopic images) and acoustic descriptions (f0, intensity and spectral slope measures). Those adjustments differed when singer and non-singer samples were compared. The acoustic and vocal tract images correspondences were relevant to the study of the singing voice, and reinforced the relation between sound and meaning / Com o objetivo de investigar, em amostras de voz cantada, os efeitos do uso das metáforas, a partir de descrições acústicas e articulatórias (imagens do trato vocal) de ajustes de qualidade vocal em mulheres cantoras e não cantoras, esta pesquisa foi desenvolvida com base em dois experimentos. Experimento 1 referiu-se a estudo de caso (mulher, não cantora, sem alterações vocais), pautado nas análises acústica e de imagem (videofluoroscopia) do trato vocal. Experimento 2 pautou-se em análise acústica das emissões de 10 sujeitos (5 cantoras e 5 não cantoras). Para ambos os experimentos, foram analisadas as gravações da canção infantil Sapo Jururu em quatro tarefas: sem instrução e com instruções baseadas nas metáforas prisma, catedral, disco voador. Para a análise das imagens do trato vocal, foram extraídas medidas de abertura de lábios (absoluta e normalizada), abertura de mandíbula, distância dorso de língua-faringe e dorso de língua-palato por meio do software Osiris. Para a análise acústica dos dados, foram extraídas as medidas de frequências formânticas (F1, F2, F3) das vogais ([a], [i], [Ɛ] e [u]) - software Praat no experimento 1. O experimento 2 constou da extração das medidas de F1, F2, F3 da vogal [a] (nas várias repetições de sapo ) e da análise das três repetições da canção por meio da aplicação do script ExpressionEvaluator ao software Praat para extração de medidas de prontidão, f0 (mediana, semiamplitude entre quartis, quantil 99,5% e assimetria), primeira derivada de f0 (média, desvio padrão e assimetria), intensidade (assimetria), declínio espectral (média, desvio padrão e assimetria) e LTAS (desvio padrão). Os achados dos dois experimentos foram submetidos a tratamento estatístico de natureza multivariada (análises fatorial, aglomerativa hierárquica de cluster, de correlação canônica, discriminante e regressão linear). Em termos de análise de imagens, foi possível observar na metáfora catedral maior abertura de lábios e mandíbula, língua centralizada e expansão faríngea. Para a metáfora prisma maior abertura de lábios e constrição faríngea. Para o disco voador, encontrou-se menor abertura de lábios e mandíbula, língua elevada e expansão faríngea. A análise acústica revelou diferenciações do padrão formântico especialmente para as metáforas catedral e disco voador, complementadas por achados do experimento 2. A análise estatística revelou que mobilizações promovidas pelas metáforas foram melhor definidas pela análise de imagens no experimento 1 e pelas medidas geradas pelo script ExpressionEvaluator no experimento 2, com destaque para f0 (mediana e quantil 99,5%), intensidade (assimetria) e declínio espectral (média e desvio padrão). As diferenciações por grupos no experimento 2 foram reforçadas por medidas do script ExpressionEvaluator e F1, F2 e F3. A prontidão foi índice que revelou diferenças das produções inter-sujeitos. A análise fonética dos dados revelou que as metáforas geraram mobilizações diferenciadas no trato vocal, especialmente para catedral e disco voador, reveladas por descrições articulatórios (medidas de imagens videofluoroscópicas) e acústicas (f0, intensidade e declínio espectral). Tais mobilizações apresentaram diferenças quando comparados aos grupos estudados. As correspondências entre achados acústicos e de imagem do trato vocal foram relevantes ao enfoque da voz cantada e reforçaram as relações entre som e sentido

This research will examine the rise in popularity of the hillbilly music genre as it relates to the early part of the twentieth century as well as its decline with the arrival of the western hero, the cowboy. Chapter 1 examines the origins of traditional music and how instrumental the fiddle and banjo were in that development. Chapter 2 looks closely into the careers of recording artists who recorded what would later be called hillbilly music. Chapter 3 examines the string band and the naming of the hillbilly genre. Chapters 4 and 5 look at the aspect of radio programming and stereotypes. Chapter 6 discusses the homogenization of the hillbilly genre and the replacement of the hillbilly with the cowboy. This research will clarify the appeal of the hillbilly and highlight the negative stereotypes that started the genre and ultimately ended it leading into the Second World War.

This thesis seeks to examine the relationship between gender and musical participation by boys. The problem of males' non-participation in certain musical activities has been the subject of research for many years. This thesis considers some of the issues in relation to this phenomenon. The notion of gender is discussed. Historical and contemporary perspectives in stereotyping are investigated to determine the extent of the problem, with a view to enhancing the experience of boys in musical endeavours. There are no studies of this nature in existence in Australia and the existing research from other western cultures, while providing some basis, cannot be directly applied to this setting. Furthermore, existing studies have not brought about significant change in the gender order in music education. This project seeks to address these shortcomings. Masculinity in Australia is examined, with particular emphasis on the effects of hegemonic masculinity on those who do not fit this stereotype. Issues of bullying, depression and suicide are addressed. Empirical and sociological studies are re-examined in the light of more recent thought on the subject, particularly with regard to the possible causes of non-participation in singing and playing of certain instruments. The extent to which stereotyping of musical activities exists in Australian schools is reviewed through a series of studies of participation and literature. A number of subjects are interviewed to discover some of the reasons behind the choice of particular instruments. The thesis concludes with some perspectives arising from recent case studies of schools that have, to some extent, overcome some of the gender issues raised in earlier discussion. Constructs of masculinity and femininity effect musical participation in Australian schools and the extent of this effect is examined in this thesis.

<p>People have different hobbies. The people we are going to meet here share the same interest - choir singing. Singing together in different choirs is their hobby (leisure time interest).</p><p>What brings them together is the singing, getting an opportunity to sing together with people they otherwise would not meet. In this essay you will learn some of the reasons behind the fact that choir singing is a big movement in Sweden (reasons behind choir singing having a great number of practitioners). You will get a direct link to the informants, without having to read answers that have been tampered with. The choir singers who participate will speak directly to you.</p>

Der Buchfinkengesang wurde in Potsdam in zwei Hauptpopulationen über drei Jahre aufgenommen. Jedes Individuum wurde eindeutig am individuellen Strophentypenrepertoire identifiziert. Ein weiterer Punkt der die individuelle Wiedererkennung bestätigt ist die hohe Standorttreue der adulten Männchen. Die beschriebene Methode eignet sich für die Untersuchung von gesamten Populationen, um den Wandel des Gesangs von Populationen in Raum und Zeit zu beschreiben.<br /> <br /> Die Haupterkenntnisse der Arbeit sind:<br /> <br /> - Die Gesamtanzahl der Grundstrophentypen innerhalb einer Population bleibt über Jahre konstant.<br /> - Die relative Häufigkeit jedes einzelnen Strophentyps variiert von Jahr zu Jahr und von Population zu Population.<br /> - Gesangslernen erfolgt exakt mit einem Korrektheitsgrad von mindestens 96%.<br /> - Das Song-Sharing ist innerhalb der Population hoch. <br /> Die diskutierten Mechanismen für das Song-Sharing sind: Die Lebenserwartung, das Zugverhalten, das Lernverhalten, die Etabliertheit von Strophentypen, Weibchenpräferenzen und die Reaktionen der territorialen Männchen.<br /> - Weiterhin wurde ein Modell zur kulturellen Evolution des Buchfinkengesangs programmiert, um die Rolle der Einflussfaktoren, wie Fehlerquote, Abwanderungsrate und Laufzeit zu ermitteln.<br /> Der Wandel des Dialektes erfolgt graduell in Raum und Zeit. Daher sind keine scharfen Dialektgrenzen anzutreffen. Trotz dieser Tatsache markieren die etablierten Strophentypen die Population.<br /> 50 % der Juvenilen siedeln am Geburtsort, auf diese Weise bleibt der Dialekt erhalten und Inzest wird vermieden.<br /> -Analysiert man das Repertoire benachbarten Männchen bei isolierten Alleen, so entspricht die Gesangsangleichung in etwa dem Zufall.<br /> -Intraindividuelle Vergleiche der quantitativen Parameter des jeweiligen Strophentyps wurden saisonal und annuell durchgeführt.<br /> Saisonal konnten für einen Strophentyp ein Trend ermittelt werden. Bei jährlichen Vergleichen konnten intraindividuell ausschließlich nicht signifikante Ergebnisse ermittelt werden, wohingegen die interindividuelle Variation in zwei Fällen signifikant war. In einem Fall bestand ein Trend und in einem weiteren Fall war die Variationsunterschiede nicht signifikant.<br /> - Der Verlauf der Brutsaison lässt sich an der jährlichen Gesangsaktivität nachvollziehen. / Chaffinch song was recorded in Potsdam in two major populations of chaffinches over a period of three years. Each male was identified unambiguously because of their individual song type repertoires. These are usually easy to distinguish from sonagrams as the variation is discontinuous. A further point for individual recognition is the fixed territorial behaviour of adult males. The described method is employed to examine whole populations and to observe changes with space and time in the song of a population. <br /> <br /> The major findings of the study are:<br /> <br /> - The total amount of basic song types in each population is constant over years.<br /> - The quantity of each basic song type is different and varies from year to year and from population to population.<br /> - Song copying is extremely accurate on at least 96% of occasions.<br /> - Song-type sharing is high within populations. Discussed mechanisms for song neighbourhoods are: expectation of life, semi-migratory behaviour, learning skills, establishment of song types, female choice and male vs male interaction. Furthermore a model of cultural evolution of chaffinch song was programmed to determine the role of factors like error rate, rate of emigration and running time. The changes are gradual in space and time. Hence the dialect borders are smooth. Despite this fact established song types mark the population. As every second juvenile bird settles in the population of his birth inbreeding is avoided and the dialect structure is retained.<br /> - Analysing the repertoires of neighbouring males (&ldquo;next door neighbours&rdquo;) in isolated avenues to examine mutual influences suggests that these have the same amount of song types in common than would be expected by chance.<br /> - Within intraindividual comparisons the quantitative parameters of the same song types remain seasonal and annual constant, whereas interindividual variations within the same song tip are statistically significant.<br /> - The breeding biology of the chaffinch can be observed by seasonal singing activity during the breeding cycle.

People have different hobbies. The people we are going to meet here share the same interest - choir singing. Singing together in different choirs is their hobby (leisure time interest). What brings them together is the singing, getting an opportunity to sing together with people they otherwise would not meet. In this essay you will learn some of the reasons behind the fact that choir singing is a big movement in Sweden (reasons behind choir singing having a great number of practitioners). You will get a direct link to the informants, without having to read answers that have been tampered with. The choir singers who participate will speak directly to you.