Modern scholars have suggested various approaches to the analysis of the pretonal repertory. However, if we consider the question of how the individual voice parts interact in a Renaissance polyphonic composition to create coherence for the movement as a whole, we find that there are no tools available to undertake such a task. We may be able to speak generally of the arrival of certain moments as relatively accented or unaccented; we may even be able to dissect a complete melodic line with some segmentation process to highlight motivic structure, phrase development or contour-articulated pitch events. But there are no analytic strategies available yet which are capable of disclosing the structures of independent voice parts and their interaction as timepoint-accenting elements capable of creating formal, rhythmic and pitch-class patterns. This study outlines a methodology that has been developed to deal with these specific issues. The analytic strategy is based on the perception of accents in individual voices of polyphonic works. The types of accents germane to Renaissance polyphony include durational, leap, contour, cadential and beginning-accents. The study proposes a simple, bipartite classification of accentual strength—strong or weak. Each voice part in a work is then analyzed, with every pitch attack represented as strongly or weakly accented through special notation developed for the analysis. The methodology affords a picture of the most strongly- accented timepoints in the individual melodies of three- and four-voice cantus firmus masses of the mid- to late fifteenth century. The relative strengths of these accents, along with their synchronization in the multi-voice aggregate, are disclosed through the notation. After renotating scores with this special notational symbology, we extract points of coincident strong accents in three or more voices to create accent profiles for each section of a movement. We then compare profiles of same-texted works by different composers in order to disclose normative formal and pitch-class procedures in some Renaissance compositions. / Arts, Faculty of / Music, School of / Graduate

The concert arias of Mozart actually include not only arias written specifically for concert but also interpolations which subsequently assumed the character of concert arias. Those in the following study were written for Aloysia Weber, Mozart's first love and, later, his sister-in-law. These arias are interesting for a number of reasons: First, the fact that they are seldom performed today raises questions about singing technique in the late eighteenth century. Second, the musical requirements which fostered this technique must have been grounded in a tradition of embellishment--a subject worthy of investigation. Third, the concert arias are an example of the close connection between melody and instrument in this period; what was the nature of the voice for which they were written? Fourth, these arias were fully notated at a time when the singer was generally expected to improvise. They are a written record of Classical ornamentation and are therefore a good choice for the study. The method used is as follows: The singing tradition according to which Weber and Mozart were trained is examined. After this discussion follows a chapter on the tradition of ornamentation, which influenced Mozart's melodic writing. Mozart's approach to composition and notation is then described. Finally, the melodies are analyzed through the process of de-ornamentation. A per-formable edition of a concert aria from which all ornamentation has been removed is included. The thesis yields the following conclusions: First, tastes in singing style change from century to century, and these preferences affect the aspects of pedagogy which are emphasized in any given age. Second, the pieces reflect a preference for bright, florid melodies and high, flexible voices. Third, Mozart was complete in his notation for a number of reasons: 1) orchestral accompaniment is necessary in the sections of free ornamentation; 2) Mozart wrote the arias for Aloysia Weber and for particular performances in most instances; 3) by creating a fine composition Mozart showed himself to best advantage over the Italian musicians with whom he felt an intense rivalry. Fourth, late eighteenth-century ornamentation can be divided into two groups--specific ornaments and free ornamentation. Classical ornamentation differs from Baroque in two important respects: 1) in Baroque melodies ornaments are mere frills, but Classical ornaments are so organic to the style that most Mozart melodies would be unthinkable without them; 2) whereas Baroque free ornamentation usually fills in spaces between chord tones, Classical embellishment reinforces structural points. The performable edition mentioned above resembles a simple nineteenth-century cantabile aria, illustrating the basic difference between the later style and that of Mozart. / Arts, Faculty of / Music, School of / Graduate

Made available in DSpace on 2014-06-12T23:01:51Z (GMT). No. of bitstreams: 2 arquivo4255_1.pdf: 4065278 bytes, checksum: c0dabbd5dc05e703429eae598cc70d8d (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2009 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / As displasias da laringe são lesões precursoras do carcinoma escamocelular invasivo e constituem lesões pouco comuns, pois, a maior parte dos casos é diagnosticada como carcinoma invasor. Freqüentemente, utilizam-se os critérios de cérvix uterina para graduação das displasias na prega vocal. Todavia, existem diferenças histopatológicas, patogênicas e epidemiológicas entre as lesões intraepiteliais cervicais e laríngeas. O epitélio de transição na prega vocal pode ocasionar problemas diagnósticos. Os autores procuram caracterizar as displasias acentuadas/carcinoma in situ da prega vocal quanto aos aspectos histopatológicos, morfométricos (área do epitélio e diâmetro dos núcleos) e índice proliferativo (Ki-67), comparando estes dados com os obtidos no epitélio escamoso normal e de transição. Dentre 1400 casos de carcinoma de laringe (1994 a 2006), 5 casos (0,35%) de displasia acentuada/carcinoma in situ foram estudados. O grupo controle constituiu-se de dois indivíduos masculinos, não tabagistas e não etilistas de 52 e 78 anos. Observaram-se nos pacientes com displasia predomínio do sexo masculino, na 6º década e associação com tabagismo e etilismo. Comparando-se o epitélio displásico com o epitélio normal e de transição verificou-se que foi maior a área ocupada pelo primeiro, bem como o diâmetro do núcleo das células displásicas. O diâmetro dos núcleos por camada mostrou diferenças significativas no epitélio escamoso normal, mas não no epitélio displásico e de transição. O índice proliferativo foi maior no epitélio displásico que no escamoso normal e de transição com núcleos corados na camada basal/parabasal no epitélio escamoso normal e de transição e em todos os níveis no epitélio displásico

Made available in DSpace on 2014-06-12T23:02:56Z (GMT). No. of bitstreams: 2 arquivo4379_1.pdf: 3547847 bytes, checksum: b0e6edcc3df9548b70ac1f498ac7b288 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2008 / Objetivo: Avaliar os efeitos da desnutrição durante a lactação sobre a morfologia da laringe de ratos aos 22 e 60 dias de idade. Métodos: Ratos albinos machos da linhagem Wistar (n=48) foram divididos em dois grupos de acordo com a dieta das mães durante a lactação: controle (caseína 17%) e desnutrido (caseína 8%). Após o desmame, todos os animais receberam dieta padrão do biotério. Metade dos animais de cada grupo foi sacrificada aos 22 dias de vida, e a outra metade aos 60 dias de vida. A desnutrição neonatal foi diagnosticada através do peso corporal avaliado diariamente ao longo do experimento, sendo calculado o ganho de peso corporal e a taxa de crescimento. Após o sacrifício, a laringe foi retirada e suas dimensões registradas com paquímetro digital de acurácia 0,01 mm. Foram avaliados os comprimentos da laringe: epiglote a cricóide (EC), tireóide a cricóide (TC), antero-posterior (AP) e latero-lateral (LL). Para a análise histológica foi utilizada a coloração hematoxilina-eosina. A laringe foi analisada qualitativamente, subdividida em supraglote, glote e infraglote. As pregas vocais também foram analisadas quanto às dimensões do epitélio, o núcleo e suas camadas, através do programa Scion Image, Beta 4.0.2. Resultados: Os animais cujas mães foram desnutridas durante a lactação apresentaram redução do peso corporal, diminuição do ganho de peso corporal durante a lactação que aumentou durante a recuperação nutricional (p<0.05). A taxa de crescimento reduziu (p<0.05) no período neonatal se normalizando na recuperação nutricional comparativamente ao controle. Quanto a macroscopia da laringe, os animais aos 22 dias apresentaram uma diminuição nas dimensões ântero-posterior e látero-lateral comparativamente ao controle (p<0.05). Aos 60 dias de idade, não houve diferença entre os grupos nas variáveis analisadas. Na análise microscópica houve um aumento da queratinização do epitélio da supraglote, aos 22 e 60 dias de vida nos animais desnutridos. Na prega vocal houve redução do comprimento do epitélio, do diâmetro do seu núcleo e da camada intermediária nos animais desnutridos no período neonatal aos 60 dias de vida. Conclusão: A desnutrição neonatal induziu alterações nas micro-estruturas da laringe dos animais desnutridos, mesmo após a recuperação nutricional. A macro estrutura sofre os efeitos imediatos da restrição nutricional diminuindo as dimensões horizontais da laringe com recuperação a longo-prazo. Nossos resultados indicam que a escassez de nutrientes durante o período crítico de desenvolvimento induz alterações na morfologia da laringe a curto e em longo prazo. Estudos que avaliem a função desse órgão são necessários

À partir de l\'analyse des traitements pédagogiques de fragments de textes théâtraux décelés dans des méthodes de Français, Langue Étrangère parus depuis 1980, on remet en question les conceptions méthodologiques sous-jacentes et ses probables conséquences sur le processus d\'acquisition de la compétence de lecture en langue étrangère. Texte écrit paradoxalement voué à la langue parlée, le texte théâtral engendre - par le biais de son essence même - des sphères interdépendantes dans la construction du sens : lire et dire. La recherche focalise cette ambivalence du texte théâtral en tant qu\'indice révélateur de quelques problemátiques nébuleuses de la Didactique des Langues Étrangères (la compréhension écrite de textes artistiques et l\'interdépendance des sphères de l\'Écrit et de l\'Oral) et en tant que matrice féconde de l\'appropriation, accomplie par le sujet-apprenant, d\'une autre discoursivité. / A partir da análise dos tratamentos pedagógicos de fragmentos de textos teatrais detectados em conjuntos didáticos de Francês, Língua Estrangeira publicados desde 1980, questionamos as concepções metodológicas subjacentes e suas prováveis conseqüências no processo de aquisição da competência de leitura em língua estrangeira. Texto escrito que paradoxalmente se destina à língua falada, o texto teatral gera - pela sua própria essência - esferas interdependentes na construção do sentido: ler e dizer. A pesquisa focaliza essa ambivalência do texto teatral enquanto índice revelador de problemáticas nebulosas da Didática das Línguas Estrangeiras (a compreensão escrita de textos artísticos e a interdependência das esferas da Escrita e da Oralidade) e enquanto promissora matriz da apropriação, realizada pelo sujeito-aprendiz, de uma outra discursividade.

Thomas Pasatieri is a prolific American composer of the twentieth and twenty-first centuries. Although Pasatieri is best known as an opera composer, he has composed in many different genres, and his numerous art songs have often been overlooked. This study evaluates Pasatieri's currently published song catalog and divides it into three groups of songs that correspond to the varying pedagogical needs of students. The first group presented in this document addresses the needs of the beginning vocal student. The songs are harmonically tonal, textually accessible, rhythmically uncomplicated, and metrically stable. The second group is more appropriate for the intermediate singer. The songs are highly chromatic and their harmonic progressions do not necessarily follow the rules of functional tonality; the texts are longer and more complex, the rhythmic and metric content are likewise more difficult, and the melodies are more disjunct, often exploring the extremes of the vocal range. The third and final group is most suitable for the advanced singer. The harmonies are challenging and explore an array of organizations, the texts are esoteric, the melodies are often unified through recurring motivic gestures, and the songs rarely contain any formal repetition. These groupings are intended to help teachers and students choose repertoire from Pasatieri's oeuvre that suit each individual student. This study includes a discussion of representative songs from each group within the chapters and a catalogue of all of Pasatieri's published songs arranged by group in the appendices.

The registers of the singing voice, as commonly understood by singers, refer to the different vocal qualities induced by adjustments at the level of the larynx and of the vocal tract. This explains why register unification can be approached either one or a combination of the following procedures: (1) resonance alignment through vowel modification, (2) register alignment through intensity exercises. The wide-spread acceptance of vowel modification has made singers reluctant in exploring other avenues of register development. If registers are laryngeally derived, there should be another way of register unification, which directly addresses the coordination of the laryngeal muscles. In support of this argument, this thesis investigates the teaching practices of a group of twentieth-century American voice teachers, who rely on intensity manipulation as the primary means for enhancing the register adjustments. Intensity exercises such as the messa di voce has long been practiced in historical pedagogy, but it is not until now that voice science confirmed its significance in register coordination.

Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in the first four decade of the seventeenth century.

Due to the recent increase of computer programmers, and asa result, sufferers from Repetitive Strain Injury (RSI),programming by voice is becoming an important alternativeto keyboard-based input. Using speech recognition softwareis more difficult for programming tasks than naturallanguage. This is because writing code requires punctuation,symbols, and abbreviations that need to be spelled out. It isalso not limited to writing code, but also includes navigation,editing, and error correction. Therefore, an easy and flexibleway of working with code by voice is therefore. This studyexamines the efficiency of vocal programming in differentparadigms (namely, the imperative and reactive paradigm).We survey which advantages and challenges the reactiveand imperative paradigm have within this field. Bydiscussing if and how the reactive paradigm could beincorporated into future tools and covering the mostcommon challenges, we hope to provide a base for furtherstudies on programming reactively by voice. A brief surveyof tools for vocal programming is carried out. Using TalonVoice, examples written in Java and RxJava, we measure theperformance of the respective paradigms, by recording thenumber of words, syllables, and necessary pauses used whenproducing code vocally. The results vary in vocal load, butboth paradigms have advantages in vocal programming. Theresults also show that reactive programming, thoughgenerally requiring more code for the same tasks asimperative code, does not require the vocal programmer toutter as many words per character as within the imperativeparadigm. The authors discuss the effects of cognitive load inrelation to the presented findings.

This master‘s thesis deals with computational modelling of human vocal folds in phonation position using finite element method. There are described larynx anatomy, voice generation theories and overview of so far published computational models of vocal folds. Next part of the paper deals with a redesign of vocal folds and soft tissues‘ geometry, creation of finite element mesh and implementation of active stress in thyroarytenoid muscle. The problem was solved using Ansys 19.2 software. Computation of stress and deformation of soft tissues in phonation position has been made for 7 variations with different combination of active cartilages and muscles. Lastly, there was evaluated an effect of different cartilages and active muscle stress to final stress and deformation of soft tissues of vocal folds.