A partir de la experiencia del autor en un taller dedicado a que los alumnos de la Facultad de Gestión y Alta Dirección desarrollen habilidades comunicativas, en este artículo se propone la necesidad de repensar la disposición convencional del espacio de aprendizaje. El autor cuestiona la estaticidad de la disposición en el aula y cómo esta termina por convertirse en un requisito para el desarrollo de una clase universitaria. De esta manera se explora una concepción del aprendizaje dinámica tanto a nivel mental asícomo también corporal y espacial.

abstract: The Vocal Jazz ensemble, a uniquely American choral form, has grown and flourished in the past half century largely through the efforts of professionals and educators throughout the collegiate music community. This document provides historical data as presented through live and published interviews with key individuals involved in the early development of collegiate Vocal Jazz, as well as those who continue this effort currently. It also offers a study of the most influential creative forces that provided the spark for everyone else's fire. A frank discussion on the obstacles encountered and overcome is central to the overall theme of this research into a genre that has moved from a marginalized afterthought to a legitimate, more widely accepted art form. In addition to the perspective provided to future generations of educators in this field, this document also discusses the role of collegiate music academia in preserving and promoting the Vocal Jazz ensemble. The discussion relies on recent data showing the benefits of Vocal Jazz training and the need for authenticity towards its universal integration into college and university vocal performance and music education training. / Dissertation/Thesis / D.M.A. Music 2013

abstract: This paper and its accompanying recital examine three solo vocal works by Italian composer Alfredo Casella (1883-1947): "Larmes" from Cinq Mélodies (Op. 2); "Mort, ta servante est à ma porte" from L'adieu à la vie: Quatre lyriques funèbres extraites du "Gitanjali" de Rabindranath Tagore (Op. 26); and "Amante sono, vaghiccia, di voi" from Tre canzoni trecentesche (Op. 36). Each of these songs is discussed as representative of Casella's three compositional periods. A fourth song, "Ecce odor filii mei" from Tre canti sacri per baritono et organo (Op. 66), is also examined, as an end-of-life composition. Some of the more important solo vocal works composed in each period are mentioned to show where the four selected songs fit into Casella's compositional output and to suggest music for further study or repertoire. / Dissertation/Thesis / D.M.A. Music 2014

Submitted by Nathália Neves (nathalia.neves@ufpe.br) on 2015-03-04T19:04:06Z No. of bitstreams: 2 DISSERTAÇÃO Aluisia Albuquerque.pdf: 892499 bytes, checksum: 60f552fe96e0448fa50f0498b2d57d05 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-04T19:04:06Z (GMT). No. of bitstreams: 2 DISSERTAÇÃO Aluisia Albuquerque.pdf: 892499 bytes, checksum: 60f552fe96e0448fa50f0498b2d57d05 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2013-03-04 / CAPES/Propesq/UFPE / O estudo teve como objetivo investigar a relação entre as condições de trabalho e saúde vocal de professores no ensino superior. A pesquisa foi desenvolvida em duas instituições do Município de Vitória de Santo Antão – PE, uma pública e outra privada, ao todo participaram 143 docentes (pública= 88, privada=55). Foi utilizado um questionário validado auto-aplicável para coleta dos dados, os quais foram analisados por meio de estatística descritiva e inferencial, com nível de significância a 5%, foi empregado o teste qui-quadrado para verificar diferenças e associação entre os aspectos estudados. Foram encontrados os seguintes resultados: predominância feminina na instituição pública (69,3%) e masculina na instituição privada (50,9%); a faixa etária 22 a 39 foi prevalente em ambas as instituições; a renda mensal individual foi maior entre os professores da pública (>9 salários mínimos) que na privada (6 a 9 salários mínimos). A média do tempo de docência foi maior na instituição privada-11 anos do que na pública- 9 anos; a carga horária semanal variou de 3h a 45h em ambas as instituições; docentes da pública trabalham dois turnos e os da privada um turno (p<0,001); docentes que possuem outro trabalho além da docência (pública= 6,8%, privada= 83,6%, p<0,001); as aulas expositivas predominam em relação a outros métodos de ensino em ambas as instituições, assim como foi predominante levar trabalho para casa. Houve diferenças entre as instituições em relação à presença de poeira (pública= 68,2%, privada= 36,4%), ausência de temperatura agradável (pública= 6,8%, privada= 56,4%), exposição a produtos químicos (pública= 62,5%, privada= 14,6%) e tamanho da sala adequado (pública= 8,0%, privada= 25,5%). Em relação aos hábitos deletérios para a voz, apenas dois prevaleceram em ambas as instituições, o falar muito e falar alto. Os sintomas vocais mais citados foram: rouquidão, falhas na voz e voz fraca e as sensações laríngeas: garganta seca, pigarro, tosse seca e cansaço ao falar. Foi identificado um percentual pequeno de professores disfônicos (28%). A maior parte dos docentes (65%) nunca receberam orientações e cuidados com a voz. As causas das alterações vocais mais citadas foram o uso intensivo da voz e o estresse. No estudo não foi encontrada associação significativa entre os aspectos organizacionais, ambientais e hábitos com a ocorrência de disfonia. O estudo mostrou que há diferenças significativas entre as instituições quanto a alguns aspectos organizacionais e ambientais, e identificou hábitos deletérios para a saúde vocal dos docentes em ambas as instituições. É preciso que instituições e professores tomem medidas de cuidados, para minimizar e/ou eliminar aspectos que contribuem para o surgimento de distúrbios vocais relacionados ao trabalho.

The present study aimed at examining both vocal and laryngeal changes caused by the vocal fry in five female subjects without vocal complaints, signs nor symptoms, with no report of previous voice therapy, and free of inflammatory or allergic processes at the moment of assessment. Initially, a digital recording of sustained emission of /a/ vowel and a recording of a videostroboscopic examination of larynx were performed. Soon after this procedure, the subjects did the vocal fry, in three series of 15 repetitions, with a 30-second interval of passive rest between the series, when the subjects should remain in absolute silence. Immediately after that, both the laryngeal examination and the recording of the vocal emission with the same phonatory task were carried out again. Both laryngeal and vocal data found prior to and after the technique were submitted to acoustic, perceptive-auditive, and videostroboscopic analyses. The perceptive-auditive analysis as well as the videostroboscopic one were performed by six judges (three speech and language pathologists especialized in voice, and three otorhinolaryngologist, respectively). The acoustic analysis was generated by the Multi Speech program of Kay Elemetrics. The analysis of results showed the following effects of the vocal fry: improved vibration of the mucosa of the vocal folds, particularly as to width and symmetry of vibration; improved or sustained voice type and pitch; improved or sustained parameters related to jitter and shimmer as well as the index that suggests glottic noise, suggesting decreased noise; improved index of mild phonation, suggesting greater balance of the degree of coaptation strength and completion of vocal folds closure; sustained or worsened vocal quality and resonance focus, with laryngopharyngeal prevalence; decreased fundamental frequency; and increased frequency variation and width, suggesting phonatory unstableness. Thus, in this study, it was concluded that the vocal fry had a positive effect on the vibration of the mucosa of the vocal folds andon the voice noise as well, and a negative effect on the voice resonance and stability. / O presente estudo teve como objetivo verificar as mudanças vocais e laríngeas ocasionadas pelo som basal em cinco indivíduos adultos do sexo feminino sem queixas, sinais e sintomas vocais e laríngeos, sem relato de terapia vocal anterior e livres de quadro inflamatório ou alérgico no momento da avaliação. Inicialmente, realizou-se gravação digital da emissão sustentada da vogal /a/ e gravação do exame videolaringoestroboscópico da laringe. Imediatamente após, os sujeitos realizaram a técnica do som basal durante três séries de 15 repetições. Em seguida, realizaram-se novamente o exame laríngeo e a gravação da emissão vocal com a mesma tarefa fonatória. Os dados laríngeos e vocais pré e pós-realização da técnica foram submetidos às análises acústica, perceptivo-auditiva e videolaringoestroboscópica, sendo as duas últimas realizadas por seis juízes (três fonoaudiólogas especialistas em voz e três otorrinolaringologistas, respectivamente). A análise acústica foi gerada pelo programa Multi Speech, da Kay Elemetrics. A análise dos resultados evidenciou que o som basal propiciou: melhora da vibração da mucosa das pregas vocais, mais especificamente quanto à amplitude e simetria de vibração; melhora ou manutenção do tipo de voz e do pitch; melhora ou manutenção dos parâmetros relacionados ao jitter e shimmer (PPQ e APQ) e do índice que sugere ruído glótico (NHR), sugerindo diminuição do ruído; melhora do índice de fonação suave (SPI), sugerindo maior equilíbrio do grau de força de coaptação e da completude de fechamento das pregas vocais; manutenção ou piora da qualidade vocal e do foco ressonantal, com predomínio laringofaríngeo;diminuição da freqüência fundamental; e aumento da variação da freqüência (vf0) e amplitude (vAm), sugerindo instabilidade fonatória. Dessa forma, concluiu-se que, neste estudo, o som basal promoveu um efeito positivo sobre a vibração da mucosa das pregas vocais e sobre o ruído na voz, e um efeito negativo sobre a ressonância e a estabilidade da voz.

The following thesis is primarily analytical in nature and deals with four aspects of Dallapiccola's vocal chamber style under the headings: I A Summary of Texture and Orchestration II Formal Considerations III A Study of the Serial Structure IV Text-Setting. Seven song cycles are investigated under each of these areas so that a line of stylistic continuity can be traced from the earliest (1942) through the most recent work studied (1964). The works are: Liriche Greche, Rencesvals, Quattro Liriche di Antonio Machado, Tre Poemi, Goethe-Lieder, Cinque Canti, and Parole di San Paolo. The supposition of continuity is borne out by the examples presented. These show that particularly in the case of formal and serial construction, Dallapiccola chooses a basic pattern or formula (a tri-partite design, a semi-combinatorial series) and creates with it new works with ever-fresh imagination. In his text-setting he is extremely concerned with comprehensibility and expression, for without these he sees little value in the technical means employed. Introducing the topic is a resume of Dallapiccola's musical development up to the time of his adoption of the twelve- tone system. The Conclusion presents evaluations of the composer by various authors, and relates the information given in the body of the thesis to Dallapiccola's personal ideas regarding the function of art. / Arts, Faculty of / Music, School of / Graduate

Thesis (M.A.)--Boston University / Statement of Problem The purpose of this thesis is to find, list and give a short description of vocal solos with English texts which will contribute to the meaning of the Protestant service. These solos must be 1) worshipful, 2) well-written, and 3) by first-rank composers. A worshipful text adds to the beauty, meaning and knowledge of the Christian philosophy. A good text is directly related to the service of which it is a part. Many arias from sacred oratorios are not good church solos because the texts pertain to the dramatic story of the oratorio rather than to the meaning of a religious service. [TRUNCATED]

Laryngopharyngeal reflux (LPR) is a prevalent disorder which can lead to voice disorders, but its diagnosis is difficult. Consequently, various tools and methods have been explored for the diagnosis of LPR. A link may exist between vocal characteristics and reflux symptoms which may improve the diagnosis of LPR. This study’s objective was to investigate the associations between reflux symptoms, acoustic-, perceptual-, and physical vocal characteristics, the glottal function index (GFI) and the voice handicap index (VHI), in adults with non-organic voice disorders. A retrospective cohort explorative research design was employed by investigating, analysing and describing the existing database of an ear, nose and throat specialist (ENT) in the form of administrative data sets, case histories, questionnaires, and patient and stroboscopy reports. Data collection took place at an ENT practice at a private hospital in Gauteng, South Africa. The data of 51 individuals with non-organic voice disorder, aged 18 and older, were included in this study. Comparisons were made between the reflux symptom index (RSI), acoustic characteristics (jitter, shimmer and fundamental frequency (fo), maximum phonation time (MPT), perceptual characteristics (grade of hoarseness, roughness, breathiness, asthenia, strain and instability), physical vocal characteristics, GFI and VHI. Fair correlations were found between RSI and phase closure (rs=0.424; p=0.035), RSI and GFI (rs=0.366; p=0.008), RSI and VHIP (rs=0.302; p=0.035) and between RSI and caffeine intake (rs=0.322); p=0.043). Results indicated that underlying associations exist between reflux symptoms, vocal characteristics, the GFI and the VHI. Used in conjunction, these measurement tools could improve the clinical diagnosis of LPR. The implications of these findings are promising but further research is recommended. / Dissertation (MA)--University of Pretoria, 2020. / 2022/12/31 / Speech-Language Pathology and Audiology / MA (Speech-Language Pathology) / Unrestricted

Vocal efficiency is a measure of the efficiency of the energy conversion process from aerodynamic power to acoustic power. Few studies have been conducted to measure vocal efficiency in trained singers to determine whether "vocal athletes" are more efficient than non-singers. Data were collected from 20 trained singers (10 male and 10 female) and 20 non-singers (10 male and 10 female) to determine if there were any significant differences between the two groups. During the recording, each participant produced a series of syllables at combinations of three different levels of pitch and loudness. The acoustic and aerodynamic data were analyzed to reveal any statistically significant differences in vocal efficiency between singers and non-singers. The singers were significantly more efficient than non-singers in only two of the nine conditions. Singers had significantly higher subglottic pressure and resistance values. More differences were found between men and women, in that males produced greater flow, but females consistently produced higher sound pressure level values. Acoustic analyses were also performed and this revealed that singers had significantly greater fundamental frequency variability during speech, as reflected in a higher semitone standard deviation for a reading passage. It was also found that males had higher maximum phonation times and a greater long-term average spectrum standard deviation. Vocal beauty ratings were significantly higher for singers than non-singers.

No description available.