Magdalena Lébeis registrou sistematicamente em seis cadernos de aulas, durante um período compreendido entre 1937 e 1955, as 1006 aulas de canto que fez com Vera Janacópulos. Este trabalho traz a transcrição completa dos manuscritos do vol. 1 dos Cadernos de Aulas de Canto de Magdalena Lébeis. Propõe análises iniciais a propósito da abordagem, tanto de Lébeis, quanto de Janacópulos, de elementos técnicos e interpretativos no estudo do canto, contidos no relato sistemático, de próprio punho, de Lébeis, utilizando diferentes fontes da bibliografia sobre pedagogia vocal e especialmente os conceitos expressos por Richard Miller. Procurou-se também contextualizar o desenvolvimento da carreira de Lébeis nas questões sócio-musicais que orbitavam no cenário musical paulistano, durante os anos contemplados pelo depoimento manuscrito de Magdalena Lébeis. Optou-se pela não sistematização das análises, por se entender que seriam necessárias ferramentas de análise adequadas, cujo desenvolvimento pertenceria a outro projeto de estudo. / Magdalena Lébeis systematically recorded in six notebooks the content of 1006 singing lessons that she took with Vera Janacópulos between 1937 and 1955. This paper presents the first volume of the manuscripts Cadernos de Aulas de Canto de Magdalena Lébeis. It proposes an initial analysis of how Lébeis as well as Janacópulos approached the technical and interpretive elements in the study of singing which is thoroughly described in Lébeis\'s account. Besides her manuscripts we have also made use of a considerable literature on vocal pedagogy and especially the concepts expressed by Richard Miller. We also sought to contextualize Lébeis career development within the social and musical scene that was revolving in São Paulo back then. It has been opted for a non-systematic analysis because we understand that a different one would require appropriate and diverse arguments and that would belong to another project.

Vocal mimicry is well documented in songbirds, yet the function of this behaviour is poorly understood. I studied vocal mimicry in a wild population of male spotted bowerbirds Ptilonorhynchus maculatus to determine whether there was any support for the proposed functional hypotheses invoked to explain this behaviour. I collected observational data to determine what species male bowerbirds mimicked and how their mimetic repertoires related to the acoustic environment. Spotted bowerbirds preferentially mimicked the vocalisations of aggressive species, which is consistent with mimicry acting to deter predators or competitors (Batesian mimicry). However, these sounds were also relatively simple in terms of their structure, and may be mimicked purely due to their simplicity and similarity to the species-specific hiss. A survey of mimetic repertoires at three geographically isolated populations revealed a similar pattern in model choice: mimetic repertoires were predominantly composed of aggressive and predatory species but these sounds were also structurally simple. To test whether mimicry was used in a Batesian context I determined what contexts mimicry was produced in. Consistent with predictions, I found that males did not increase their mimetic rate in the presence of conspecifics but did increase their mimetic rate in response to human activity around the bower. To determine how mimetic sounds are acquired in this species, I compared the mimetic repertoires of individuals within a population and found that males with bowers closer together mimicked more of the same species than did males with bowers that were further apart. Closer inspection of two of these mimicked sounds revealed that neighbouring males did not produce structurally similar mimicry,which suggests that mimetic sounds are learned directly from the species being mimicked. Males did not increase their rate of species-specific vocalisation when mimetic rate increased, so these vocalisations are unlikely to serve the same function. Males increased their rate of species-specific hissing when in the presence of conspecifics and this vocalisation is likely to function in intraspecific communication. Males also produced ‘advertisement’ calls when alone at the bower that are likely to attract females to the bower or deter rival males. These vocalisations are a long distance signal that varied in structure in three populations of bowerbird. I discuss potential explanations for geographic variation in the structure of bowerbird vocalisations. Vocalisations may be part of the multi-component sexual signal produced by bowerbirds, but I found no relationship between any aspect of male vocalisation and predicted mating success, so these vocalisations are unlikely to indicate male quality to potential mates or rival males. In conclusion, it seems most likely that mimicry in this species is used to deter predators or competitors, but I cannot exclude the hypothesis that mimetic sounds are learned as a result of their relative simplicity and salience in the acoustic environment. Furthermore, I have shown that mimetic sounds in this species are most likely acquired directly from the species being mimicked. These findings are a useful step towards understanding the function and evolution of this fascinating behaviour.

Thesis (Ed.D.)--Boston University. / The problem of this study was to provide from objective pitch measurements an answer to the question: What does a child do with his vocal pitch in certain speaking and oral reading activities? The purposes of the study were: 1, To locate in terms of fundamental frequencies the average pitch levels used by children in speaking, in easy and difficult reading, and in unaided recall of easy and difficult reading. 2. To compare the mean vocal pitches of the five oral activities noted above. 3. To report average pitch levels significantly related to differences in sex, intelligence, grade placement, and educational achievement for the groups studied.

Phonation onset and offset are important aspects of singing and speech. Their execution requires control of timing and coordination of complex vocal fold kinematics, glottal configuration, laryngeal muscular adjustments, and respiration. The purpose of this study was to examine effects of timing and coordination of vocal fold adductory and abductory movements on vocal fold vibratory behavior from offset to onset in a series of repeated phonation gestures, using high-speed digital imaging. Of particular interest were differences in vocal fold adductory positioning for slower and faster tempi; patterns of oscillation during onset and offset for the different tempi, and effects of onset and offset timing events on subsequent vibratory patterns. Method: 11 subjects, all classically trained, experienced professional singers, were videoendoscopically recorded singing a series of repeated notes at two different tempi, using high-speed digital imaging. Vocal fold adductory positioning was measured in terms of relative glottal width during onset in slower and faster tempi. Vocal fold vibratory behavior was measured in timing of offset and onset “events,” number, spacing, and timing of PPOs and pSSOs. Results: Relative glottal widths were significantly smaller for the faster tempo, supporting a hypothesis that vocal agility requires closer vocal fold approximation before onset. Significant differences were found in offset vs. onset timings and numbers of prephonatory and post-steady-state oscillations, supporting a theory of oscillation hysteresis.

Magdalena Lébeis registrou sistematicamente em seis cadernos de aulas, durante um período compreendido entre 1937 e 1955, as 1006 aulas de canto que fez com Vera Janacópulos. Este trabalho traz a transcrição completa dos manuscritos do vol. 1 dos Cadernos de Aulas de Canto de Magdalena Lébeis. Propõe análises iniciais a propósito da abordagem, tanto de Lébeis, quanto de Janacópulos, de elementos técnicos e interpretativos no estudo do canto, contidos no relato sistemático, de próprio punho, de Lébeis, utilizando diferentes fontes da bibliografia sobre pedagogia vocal e especialmente os conceitos expressos por Richard Miller. Procurou-se também contextualizar o desenvolvimento da carreira de Lébeis nas questões sócio-musicais que orbitavam no cenário musical paulistano, durante os anos contemplados pelo depoimento manuscrito de Magdalena Lébeis. Optou-se pela não sistematização das análises, por se entender que seriam necessárias ferramentas de análise adequadas, cujo desenvolvimento pertenceria a outro projeto de estudo. / Magdalena Lébeis systematically recorded in six notebooks the content of 1006 singing lessons that she took with Vera Janacópulos between 1937 and 1955. This paper presents the first volume of the manuscripts Cadernos de Aulas de Canto de Magdalena Lébeis. It proposes an initial analysis of how Lébeis as well as Janacópulos approached the technical and interpretive elements in the study of singing which is thoroughly described in Lébeis\'s account. Besides her manuscripts we have also made use of a considerable literature on vocal pedagogy and especially the concepts expressed by Richard Miller. We also sought to contextualize Lébeis career development within the social and musical scene that was revolving in São Paulo back then. It has been opted for a non-systematic analysis because we understand that a different one would require appropriate and diverse arguments and that would belong to another project.

No description available.

Human phonation is a complex phenomenon produced by multiphysics interaction of the fluid, tissue and acoustics fields. Despite recent advancement, little is known about the effect of false vocal folds on the fluid dynamics of the glottal flow. Recent investigations have hypothesized that this pair of tissue can affect the laryngeal flow during phonation. This hypothesis was tested both computationally and experimentally in this dissertation. The computations were performed using an incompressible solver developed in fixed Cartesian grid with a second order sharp immersed-boundary formulation while the experiments were carried out in a low-speed wind tunnel with physiologic speeds and dimensions. A parametric study was performed to understand the effect of false vocal folds geometry on the glottal flow dynamics and the flow structures in the laryngeal ventricle. The investigation was focused on three geometric features: the size of the false vocal fold gap, the height between the true and false vocal folds, and the width of the laryngeal ventricle. The computational simulations were used to study the flow structures of the glottal flow and pressure distribution on the surface of the larynx. The experimental pressure data served to validate the computational results and provided extended knowledge over a broad range of Reynolds numbers. It was found that the size of the false vocal fold gap has a significant effect on glottal flow aerodynamics; whereas the height between the true and false vocal folds and the width of the laryngeal ventricle were of lesser importance. Due to lack of appreciation of the effect of real geometry of the larynx in the literature, a framework was discussed to extract the laryngeal geometry from the CT scan images. The image segmentation technique was utilized to extract the laryngeal geometries of a canine and a 45 years old female human larynx. Fully resolved three dimensional simulations of the laryngeal flow were conducted for physological Reynolds numbers in these realistic geometries to gain insight into the evolution of vortical structures in the larynx. It was shown that the glottal jet flow is highly three dimensional. The two and three dimensional computational investigations revealed the presence of the rarely reported secondary vortices in the laryngeal ventricle known as rebound vortical structures. It was found that these vortical structures are formed due to the interaction between the starting vortex ring and the false vocal folds. Therefore, the small size of the false vocal folds gap was identified as an important factor in increasing the intensity of these vortical structures. Finally, a novel high order Cartesian based moving least square finite volume solver was developed in this dissertation to model acoustic wave scattering at low Mach numbers flows. The computational aeroacoustic approach is based on incompressible viscous/acoustic splitting technique. In this solver, linearized perturbed compressible equations are solved on Cartesian grids and the boundaries are treated sharply using ghost fluid approach. The Cartesian grid framework is compatible with the incompressible solver and provides the flexibility of handling complex geometries. The acoustic solver was validated against several benchmark problems for which analytical solution is available.

The purpose of this dissertation is to create a catalog of the published, solo vocal songs of 25 living American composers. Through this project, visibility will be given to a significant amount of contemporary literature that is currently unknown and / or underused by many singers and voice teachers today. Exposure to the literature in this project will encourage singers and teachers to give deserving attention to a wealth of contemporary American song literature, and will help to stimulate the study, practice and performance of other contemporary songs and composers. I have selected 25 living American composers. The composers represent a variety of compositional styles, and the songs vary in level of difficulty. The songs chosen are examined based upon criterion for vocal study at the collegiate level, and the entire repertoire is appropriate for traditional classical vocal training. Many of these composers' songs are readily available in public and collegiate libraries across the country. There are some composers, however, whose songs are currently not available in libraries, but are deserving of attention. The unpublished songs of the selected composers are not included because the purpose of this project is to increase accessibility. The composers for this dissertation include: Dominick Argento, Daniel Asia, Robert Baksa, Seymour Barab, Jack Beeson, William Bolcom, John Bucchino, Tom Cipullo, John Corigliano, John Frantzen, Zina Goldrich and Marcy Heisler, Ricky Ian Gordon, Daron Hagen, John Harbison, Jack Heggie, Lee Hoiby, Richard Hundley, Anne Kilstofte, Lori Laitman, Libby Larsen, John Musto, Thomas Pasatieri, Andre Previn, Gene Scheer, and Richard Pearson Thomas. The body of the dissertation consists of a brief biography of the individual composers followed by analyses of the composers' music. Each published song is analyzed according to a set of criterion for vocal study at the collegiate level. The annotations include: title, poet, publisher and date, dedication, vocal range, tessitura, recommended voice type, level of difficulty of the vocal and piano accompaniment, possible uses, brief musical and textual description, and other pertinent information for the study and performance of the music. This dissertation will encourage the study, practice and performance of contemporary American music. The annotated catalog will include vital information for the quick selection of songs, and the information I compile will be invaluable to singers and voice teachers searching for contemporary American literature. The composers included in this project will also benefit from the exposure of their work. There are, of course, many more composers whose songs are deserving of inclusion in this project. Annotated catalogs of larger scope or of differing perspectives should be created as further study.

Le train Amabacousse-Wellstuck a déraillé de la trajectoire que lui imposait le tracé des rails. Sous le choc, ayant perdu de vue la voie qu'il s'applique depuis toujours à suivre à la tête de son train, le cheminot Valérien Beauchemin détache sa fidèle portière de sa locomotive et s'en va, par les champs et les bois, en direction de la prochaine gare. Il y rencontre le burineur itinérant Bernard Fischzpatrik, qui l'accompagnera dans une mission qu'il ne pensait jamais devoir accomplir. Jean-Baptiste Souriault, journaliste de son état, est tiré du lit pour remplir une autre mission: élucider la disparition du train Amabacousse-Wellstuck et de son conducteur et produire un article sur le sujet. Les seuls indices qui lui proviennent sont chantés par un groupe de musiciens à l'allure mutante, voire monstrueuse. Souriault fera, par eux, la connaissance d'un peuple antique à la croisée de deux cycles cosmiques et d'une femme de ce peuple, la plus belle qu'on puisse imaginer. Ensemble, ils s'engageront dans le même engrenage que Valérien Beauchemin et Bernard Fischzpatrik. La fascination qu'exerce sur moi la performance, en particulier celle qui se manifeste à l'improviste dans la rue, m'a guidé dans l'écriture du roman musical Déraillement. Des écrits de Paul Zumthor m'ont aidé à mieux comprendre cette fascination, ainsi que le fonctionnement de la performance. L'aide de Zumthor s'est aussi imposée pour aborder la question de la médiatisation en musique, un thème présent dans la structure même de ce roman. Cet aspect remet en question la relation entre l'auditeur et l'interprète. Finalement, l'échange entre le public et l'artiste ayant lieu dans la performance m'a aidé à définir ma propre technique d'écriture. Par une sorte de dédoublement, je relance l'écriture en interagissant avec la scène que je viens d'écrire. Les nouveaux éléments qui naissent de cette relance nourrissent les actions ultérieures. J'appelle cette méthode écriture de la dérive, illustrée par la métaphore du déraillement. Par ailleurs, le déraillement ouvre la réflexion aux pratiques du territoire, qui représentent d'autres types de performance. À ce sujet, je me suis intéressé plus précisément à ce qui concerne la découverte du « Nouveau Monde ». Une méditation plus vaste sur la voix et le chant s'est avérée nécessaire compte tenu de l'omniprésence de ces thèmes dans ma méthode d'écriture. J'ai voulu présenter le chant comme une arme, un effort de mise en ordre, une réponse au chaos (le bruit), bref, le chant comme métier à tisser des récits. Finalement, c'est en faisant le point sur l'intermédialité que j'ai pu insérer cette réflexion sur le chant dans la littérature. Une prise de position plus claire quant à l'esthétique de mon travail s'est dessinée en confrontant les différentes formes artistiques qui allient la musique et le texte. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Chant, Dérive, Enchantement, Étrangeté, Intermédialité, Performance.

<p><italic>The Yellow Wallpaper</italic> is a one-act opera (in three scenes) for dramatic soprano and chamber orchestra (eleven instruments). The libretto is a free adaptation by the composer of the short story "The Yellow Wallpaper" by Charlotte Perkins Gilman. The instrumentation required is: flute (doubling piccolo), oboe (doubling english horn), clarinet (doubling bass clarinet and E-flat clarinet), bassoon, horn, soprano, piano (doubling celesta), violin I, violin II, viola, cello, and contrabass. The approximate duration is one hour. The work is dedicated to soprano Aimee Marcoux.</p> / Dissertation