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

Le travail présenté dans cette thèse porte principalement sur le développement de méthodes permettant d'extraire des descripteurs pertinents des images acquises des articulateurs dans les chants rares : les polyphonies traditionnelles Corses, Sardes, la musique Byzantine, ainsi que le Human Beat Box. Nous avons collecté des données, et employons des méthodes d'apprentissage statistique pour les modéliser, notamment les méthodes récentes d'apprentissage profond (Deep Learning).Nous avons étudié dans un premier temps des séquences d'images échographiques de la langue apportant des informations sur l'articulation, mais peu lisibles sans connaissance spécialisée en échographie. Nous avons développé des méthodes pour extraire de façon automatique le contour supérieur de la langue montré par les images échographiques. Nos travaux ont donné des résultats d'extraction du contour de la langue comparables à ceux obtenus dans la littérature, ce qui pourrait permettre des applications en pédagogie du chant.Ensuite, nous avons prédit l'évolution des paramètres du filtre qu'est le conduit vocal depuis des séquences d'images de langue et de lèvres, sur des bases de données constituées de voyelles isolées puis de chants traditionnels Corses. L'utilisation des paramètres du filtre du conduit vocal, combinés avec le développement d'un modèle acoustique de source vocale exploitant l'enregistrement électroglottographique, permet de synthétiser des extraits de voix chantée en utilisant les images articulatoires (de la langue et des lèvres)et l'activité glottique, avec des résultats supérieurs à ceux obtenus avec les techniques existant dans la littérature. / This thesis reports newly developed methods which can be applied to extract relevant features from articulator images in rare singing: traditional Corsican and Sardinian polyphonies, Byzantine music, as well as Human Beat Box. We collected data, and modeled these using machine learning methods, specifically novel deep learning methods. We first modelled tongue ultrasound image sequences, carrying relevant articulatory information which would otherwise be difficult to interpret without specialized skills in ultrasound imaging. We developed methods to extract automatically the superior contour of the tongue displayed on ultrasound images. Our tongue contour extraction results are comparable with those obtained in the literature, which could lead to applications in singing pedagogy. Afterwards, we predicted the evolution of the vocal tract filter parameters from sequences of tongue and lip images, first on isolated vowel databases then on traditional Corsican singing. Applying the predicted filter parameters, combined with the development of a vocal source acoustic model exploiting electroglottographic recordings, allowed us to synthesize singing voice excerpts using articulatory images (of tongue and lips) and glottal activity, with results superior to those obtained using existing technics reported in the literature.

Le but de cette thèse était de conduire des recherches sur la synthèse et transformation expressive de voix chantée, en vue de pouvoir développer un synthétiseur de haute qualité capable de générer automatiquement un chant naturel et expressif à partir d’une partition et d’un texte donnés. 3 directions de recherches principales peuvent être identifiées: les méthodes de modélisation du signal afin de générer automatiquement une voix intelligible et naturelle à partir d’un texte donné; le contrôle de la synthèse, afin de produire une interprétation d’une partition donnée tout en transmettant une certaine expressivité liée à un style de chant spécifique; la transformation du signal vocal afin de le rendre plus naturel et plus expressif, en faisant varier le timbre en adéquation avec la hauteur, l’intensité et la qualité vocale. Cette thèse apporte diverses contributions dans chacune de ces 3 directions. Tout d’abord, un système de synthèse complet a été développé, basé sur la concaténation de diphones. L’architecture modulaire de ce système permet d’intégrer et de comparer différent modèles de signaux. Ensuite, la question du contrôle est abordée, comprenant la génération automatique de la f0, de l’intensité, et des durées des phonèmes. La modélisation de styles de chant spécifiques a également été abordée par l’apprentissage des variations expressives des paramètres de contrôle modélisés à partir d’enregistrements commerciaux de chanteurs célèbres. Enfin, des investigations sur des transformations expressives du timbre liées à l'intensité et à la raucité vocale ont été menées, en vue d'une intégration future dans notre synthétiseur. / This thesis aimed at conducting research on the synthesis and expressive transformations of the singing voice, towards the development of a high-quality synthesizer that can generate a natural and expressive singing voice automatically from a given score and lyrics. Mainly 3 research directions can be identified: the methods for modelling the voice signal to automatically generate an intelligible and natural-sounding voice according to the given lyrics; the control of the synthesis to render an adequate interpretation of a given score while conveying some expressivity related to a specific singing style; the transformation of the voice signal to improve its naturalness and add expressivity by varying the timbre adequately according to the pitch, intensity and voice quality. This thesis provides some contributions in each of those 3 directions. First, a fully-functional synthesis system has been developed, based on diphones concatenations. The modular architecture of this system allows to integrate and compare different signal modeling approaches. Then, the question of the control is addressed, encompassing the automatic generation of the f0, intensity, and phonemes durations. The modeling of specific singing styles has also been addressed by learning the expressive variations of the modeled control parameters on commercial recordings of famous French singers. Finally, some investigations on expressive timbre transformations have been conducted, for a future integration into our synthesizer. This mainly concerns methods related to intensity transformation, considering the effects of both the glottal source and vocal tract, and the modeling of vocal roughness.

This master thesis will examine the role of falsetto in structuring the male singing voice. The author will examine both Czech and international literature of the 20th century concerned with pedagogy of singing with regard to the use of head register. Works that are cited in this thesis were chosen based upon their authors' common view that it is the contribution of head voice that should play major role in structuring the singing voice. Czech authors in this thesis include Antonín Mařík, Jiří Bar, Rudolf Vašek and Přemysl Kočí. Foreign authors are represented by Anthony Frisell. This thesis strives to summarize main pedagogical concepts of the above mentioned authors. Based upon citations, it lists and explains their most common views. Apart from explaining thoughts and opinions that are shared by a majority of listed authors, this thesis also mentions views and opinions that are in some way radical or significantly different from the rest of the group. These pedagocial concepts of head voice training are later compared with the current method of chest voice training. Here, the author draws not only on the literature but also on his experience from his studies of classical singing at the Prague Conservatory. This work will also strive to summarize and compare terms such as register, head voice,...

Efter min praktik år 2021 på det gymnasium jag själv studerade vid väcktes det intresse för rösthälsa jag alltid haft, men inte fördjupat mig i. Under praktikperioden träffade jag på ett flertal tjejer med mer eller mindre allvarliga röstproblem och det berörde mig att det fortfarande såg ut så, då jag under gymnasietiden också hade klasskompisar med röstproblem som förhindrade dem att delta i undervisningen. Studiens forskningsfråga formulerades på följande sätt för att söka förståelse angående vad som orsakar unga kvinnors röstproblem: Vilka biologiska och rösttekniska faktorer till röstproblem hos en ung kvinnlig sångerska framträder i forskning som väsentliga att beakta i sång- och musikundervisning? För att besvara forskningsfrågan utförde jag en systematisk litteraturstudie med kvalitativ ansats. Datainsamlingen gjordes från två databaser, JSTOR och EBSCO, vilket slutligen genererade totalt 12 vetenskapliga artiklar. Dokumenten analyserades och kodades först inom två huvudsakliga kategorier och sedan inom tio underkategorier. Resultatet visade att faktorerna är av komplex karaktär och att det oftast är en ansamling av faktorer som orsakar att en ung kvinnlig sångerska får röstproblem, men att konsekvenser av målbrottet och överansträngning var de, i litteraturen, oftast förekommande. Studien är utformad att ge en generell överblick över de biologiska och rösttekniska faktorer som tas upp i den utvalda litteraturen då tidigare forskning ofta är fördjupad i en eller några av faktorerna. En sammanställning, som jag försökt göra här, kan vara mer lättillgänglig och användbar i en musikpedagogs yrkesliv när denne möter en elev med röstproblem och inte har tid eller möjlighet att ge sig in i litteraturen för att börja hjälpa till.

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Le travail de cette thèse porte sur l'étude du contrôle en temps réel de synthèse de voix chantée par une tablette graphique dans le cadre de l'instrument de musique numérique Cantor Digitalis.La pertinence de l'utilisation d'une telle interface pour le contrôle de l'intonation vocale a été traitée en premier lieu, démontrant que la tablette permet un contrôle de la hauteur mélodique plus précis que la voix réelle en situation expérimentale.Pour étendre la justesse du jeu à toutes situations, une méthode de correction dynamique de l'intonation a été développée, permettant de jouer en dessous du seuil de perception de justesse et préservant en même temps l'expressivité du musicien. Des évaluations objective et perceptive ont permis de valider l'efficacité de cette méthode.L'utilisation de nouvelles interfaces pour la musique pose la question des modalités impliquées dans le jeu de l'instrument. Une troisième étude révèle une prépondérance de la perception visuelle sur la perception auditive pour le contrôle de l'intonation, due à l'introduction d'indices visuels sur la surface de la tablette. Néanmoins, celle-ci est compensée par l'important pouvoir expressif de l'interface.En effet, la maîtrise de l'écriture ou du dessin dès l'enfance permet l'acquisition rapide d'un contrôle expert de l'instrument. Pour formaliser ce contrôle, nous proposons une suite de gestes adaptés à différents effets musicaux rencontrés dans la musique vocale. Enfin, une pratique intensive de l'instrument est réalisée au sein de l'ensemble Chorus Digitalis à des fins de test et de diffusion. Un travail de recherche artistique est conduit tant dans la mise en scène que dans le choix du répertoire musical à associer à l'instrument. De plus, un retour visuel dédié au public a été développé, afin d'aider à la compréhension du maniement de l'instrument. / This thesis deals with the real-time control of singing voice synthesis by a graphic tablet, based on the digital musical instrument Cantor Digitalis.The relevance of the graphic tablet for the intonation control is first considered, showing that the tablet provides a more precise pitch control than real voice in experimental conditions.To extend the accuracy of control to any situation, a dynamic pitch warping method for intonation correction is developed. It enables to play under the pitch perception limens preserving at the same time the musician's expressivity. Objective and perceptive evaluations validate the method efficiency.The use of new interfaces for musical expression raises the question of the modalities implied in the playing of the instrument. A third study reveals a preponderance of the visual modality over the auditive perception for the intonation control, due to the introduction of visual clues on the tablet surface. Nevertheless, this is compensated by the expressivity allowed by the interface.The writing or drawing ability acquired since early childhood enables a quick acquisition of an expert control of the instrument. An ensemble of gestures dedicated to the control of different vocal effects is suggested.Finally, an intensive practice of the instrument is made through the Chorus Digitalis ensemble, to test and promote our work. An artistic research has been conducted for the choice of the Cantor Digitalis' musical repertoire. Moreover, a visual feedback dedicated to the audience has been developed, extending the perception of the players' pitch and articulation.

Made available in DSpace on 2016-04-28T18:23:56Z (GMT). No. of bitstreams: 1 Glaucia Lais Salomao.pdf: 2740028 bytes, checksum: c0cdc35e66facbaed2788e65a7a799ed (MD5) Previous issue date: 2008-11-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this study was to investigate the relationship between the production and the perception of the modal and falsetto s registers in tones sang by male choir singers.104 tones were analyzed, 52 sand in modal register, 52 sang in falsetto register. The data for the analyses of the vocal registers production were obtained by means of inverse filtering of the sound irradiated from the mouth and by means of the electroglottography. The following measures were extracted: Fundamental Frequency (F0), duration of the Closed Phase, Maximum Flow Declination Rate, and Amplitude of the Alternating Current. Also, the following measures were calculated: Closed Quotient, Normalized Amplitude Quotient and level difference between the two lowest partials in the glottal source spectrum (H1 H2). The results showed clear differences between the modal and the falsetto registers. The values found for the Closed Quotient, the Maximum Flow Declination Rate and the Alternating Current Amplitude were predominantly greater in the modal than in the falsetto register. The Maximum Flow Declination Rate and H1 H2 values, on the other hand, were greater in the falsetto register than in the modal. The correlation analysis of the acoustical parameters showed a clear covariation between the Closed Quotient, the H1 H2 values, the Normalized Amplitude Quotient and Maximum Flow Declination Rate. The data for the analyses of the vocal registers perception were obtained from a forced choice test. The number of votes for modal was compared with the voice source parameters values. The results showed that tones with high values of Closed Quotient and low values of H1 H2 and of Normalized Quotient Amplitude were typically associated with higher number of votes to the modal register, and vice-versa. Our results suggest that the acoustic manifestations of the phonatory dimension related to the vocal registers are gradient and its perceived characteristics are as much distinct as they are wider apart in the continuous / O objetivo desta pesquisa foi o de investigar as relações entre a produção e a percepção dos registros vocais modal e de falsete em emissões de cantores de coral do sexo masculino. Foram analisadas 104 emissões, 52 cantadas no registro modal e 52 cantadas no registro de falsete. Os dados para análise da produção dos registros vocais foram obtidos por meio da filtragem inversa do sinal acústico e da eletroglotografia. As seguintes medidas foram extraídas: Freqüência Fundamental (F0), duração da Fase Fechada, Velocidade Máxima do Declínio do Fluxo de Ar e Amplitude da Corrente Alternada. Foram também calculados: o Quociente Fechado, o Quociente da Amplitude Normalizada e a diferença entre os níveis de intensidade dos dois primeiros harmônicos no espectro da fonte glótica (H1 H2). Os resultados obtidos mostraram diferenças claras e sistemáticas entre os registros modal e de falsete. Os valores obtidos para o Quociente Fechado, para a Velocidade Máxima do Declínio do Fluxo de Ar e para a Amplitude do Corrente Alternada foram predominantemente maiores no registro modal do que no registro de falsete. Os valores de H1 H2 e do Quociente da Amplitude Normalizada, por outro lado, foram maiores no registro de falsete do que no registro modal. Os dados para análise da percepção dos registros vocais foram obtidos a partir de um teste perceptivo de escolha forçada. O número de votos para o registro modal foi comparado com os valores obtidos para os parâmetros acústicos glotais. Os resultados mostraram que tons com valores maiores de Quociente Fechado, e valores menores de H1 H2 e de Quociente da Amplitude Normalizada foram tipicamente associados com maior número de votos para o registro de modal, e vice-versa. Os resultados sugerem a existência de uma gradiência sonora na dimensão das manifestações acústicas relacionadas aos registros vocais com características percebidas como tanto mais diferenciadas quanto mais distanciadas nesse contínuo

Diagnostic and evaluative methods used in voice care are mostly designedfor the speaking voice, and are not necessarily directly applicable to thesinging voice. This thesis investigated the possibilities of fine tuning, improvingand quantifying the voice status assessment of the singer, focusingespecially on the Western operatic female voice. In Paper I, possible singer-specific Voice Range Profile (VRP) characteristicsand tasks were explored and VRP data for 30 professional female Western opera singers was collected. Vocal productions were controlled for a physiological VRP (VRPphys) and for a stage performance context (VRPperf) and outcome differences were identified. Task design was critical for the(VRPphys) but had very little effect on the VRPperf. Significant voice category differences (between soprano,mezzo-soprano and contralto) were limited to frequencyrelated metrics. Two new VRP metrics, the area above 90 dB (Perc90dB) and the sound pressure level extent (SPLext), were found to be key metrics to the study of VRPs for singers. Paper II investigated, in conjunction with the VRP, whether the sound pressure level (SPL) or the skin acceleration level (SAL) was more correlated to the subglottal pressure (Ps). SAL was much less F0 dependent than SPL and facilitated the interpretation of VRP data. However, the correlation between SAL and Ps was found to be weaker than that between SPL and Ps. Papers III and IV explored the mapping of self-perceived impairmentrelated difficulties into the VRP. A modified phonetograph was tested first with a healthy singer population and then with a singer-patient group. Subjects used a button device to communicate their self-perceptions while singing, and were consistent in task replications as well as across different tasks. Healthy singers pressed mostly at the extreme limits of the VRP, where loss of vocal control could be expected and their presses were mostly concentrated on the periphery of the VRP area. Singer patient button- press patterns were distinct from patterns observed in healthy singers. Singer patients pressed mainly inside the VRP boundaries, in the higher range and at intermediate intensities. In Paper V, the Voice Handicap Index for singers was translated and adapted to Swedish (Röst Handikap Index för sångare or RHI-s). The questionnaire was found to be a reliable and a valid instrument. High correlations between general perceptual patient VAS ratings and the questionnaire scores underscored the instrument’s internal coherence. Overall, patient scores (including subscales) were significantly higher than healthy singer scores. The results showed implicitly the necessity and usefulness of adapting clinical procedures to specific patient populations.Together, the results of these five papers can ultimately be of value tovoice clinicians who are treating singers. The results obtained also contributeto the understanding of the singing voice and underline the importance ofproperly documenting the singing voice. / QC 20100726

Studiens syfte är att undersöka sånglärares syn på huruvida imitation kan vara ett verktyg eller hinder i sångutveckling och i strävan efter att hitta fram till ett eget röst-id. Det teoretiska ramverket i studien utgörs av diskursanalys med en diskursteoretisk ansats. Datainsamlingen har gjorts via kvalitativa intervjuer där sånglärarna har fått beskriva sin syn på imitation och röst-id och hur man som sånglärare formulerar sig när en sångelev imiterar. Informanterna har också fått beskriva vilka verktyg de kan ge eleverna i jakten på ett eget röst-id. Samtalen spelades in med ljud och transkriberades. Efter transkriptionen analyserades samtalen med hjälp av diskursanalys. I resultatet framträdde fyra olika diskursiva formationer i form av “Imitation som ljudhärmning”, “Imitationens baksida”, “Diskursen om röst-id” och slutligen “Hybrid- diskursen imitation och verktyg för röst-id”. Resultaten visade bland annat att det fanns en skillnad i hur sångpedagogerna från den klassiska profilen och sånglärarna med jazz och Contemporary Commercial Music-profil (CCM) såg på imitation då de förstnämnda såg imitation mer som ett hinder för röstutveckling. Enligt utsagorna om imitation så fanns det däremot likheter utöver genre-gränserna angående “vem” man härmar eller “hur” man härmar. De klassiska sånglärarna ansåg att röst-id var något som var förankrat i kroppen i första hand medan sånglärarna från jazz och CCM-profil verkade tycka att röst-id är ett tumavtryck och en igenkänning på röst, och att det musikaliska uttrycket är centralt för ett röst-id. När det kom till verktyg för att tillskansa sig en egen röstidentitet var jazz- och CCM-informanterna mer öppna för artificiella verktyg som inte har med det som redan finns naturligt i kroppen att göra utan de kunde istället tänka sig att leta impulser och intryck genom att ändra på de musikaliska förutsättningarna och där kunde imitationen ingå som ett av flera av dessa artificiella verktyg. / The focus of this study is to explore the perspectives of vocal instructors on the role of imitation in voice development and the pursuit of one's unique vocal identity. The theoretical underpinnings of this investigation employ discourse analysis using a discourse-theoretical approach. Data collection was conducted through qualitative interviews, where vocal instructors articulated their views on imitation, voice identity, and their approaches when a student engages in mimicry. The participants also shared the strategies they could provide to their students on the journey to discovering their unique vocal personas. The dialogues were audibly recorded and subsequently transcribed. Post-transcription, the interviews were subjected to discourse analysis. The analysis yielded four distinctive discursive formations, namely: "Imitation as Sound Imitation," "The Downside of Imitation," "The Discourse on Vocal Identity," and lastly "The Hybrid Discourse: Imitation and Tools for Vocal Identity." The results unveiled a disparity in perspectives between classical singing instructors and those teaching jazz and Contemporary Commercial Music (CCM). Particularly, the classical instructors were more inclined to view imitation as a barrier to vocal development, marking a distinctive contrast in pedagogical approach. The findings showed diverging viewpoints between instructors specializing in classical singing and those focused on jazz and Contemporary Commercial Music (CCM), especially regarding the role of imitation in vocal development. Classical instructors perceived imitation as more of a hindrance. However, beyond genre boundaries, there were similarities in the perspective on 'who' one imitates or 'how' one imitates. Classical instructors proposed that vocal identity was primarily anchored in the body. In contrast, jazz and CCM educators appeared to view vocal identity as a sonic signature, recognizing the voice and placing emphasis on musical expression as central to a vocal identity. When it came to tools for uncovering one's unique vocal identity, jazz and CCM participants demonstrated a greater openness towards non-natural methods. These educators were open to seeking influences and impressions to alter musical conditions, with imitation potentially serving as one of these artificial tools.