O presente estudo buscou: investigar sintomas vocais e laringofaríngeos, qualidade vocal, autorreferência a desconforto em trato vocal, e perfil de participação em atividades vocais de pastores evangélicos, comparando com os mesmos aspectos de homens não profissionais da voz; verificar a correlação entre o perfil de participação em atividades vocais e a qualidade vocal, autorreferência a sintomas vocais, sensações laringofaríngeas e desconforto em trato vocal, tanto para pastores quanto para não profissionais da voz. Foram avaliados 60 indivíduos, sexo masculino, divididos em grupos: experimental e controle. Foram aplicados os instrumentos: Condição de Produção Vocal (CPV) para caracterização da amostra e verificação dos sintomas vocais e sensações laringofaríngeas; Escala de Desconforto em Trato Vocal (EDTV) e Perfil de Participação em Atividades Vocais (PPAV), bem como a análise perceptivo-auditiva da voz dos participantes. Os resultados foram analisados estatisticamente, considerando o nível de significância 5%. Pastores evangélicos referiram, em maior frequência que homens não profissionais da voz: pigarro (p=0.019), tosse com catarro (p=0.015), ardor na garganta (p=0.028), secreção/catarro na garganta (p<0.001), garganta seca (p<0.001), cansaço ao falar (p<0.001), esforço ao falar (p<0.001), e secura mais frequente (p=0.009) e mais intensa (p=0.006). Na comparação entre os grupos, os pastores referiram valores mais elevados no PPAV: escore total (p=0.032), total de limitação nas atividades (p=0.037), efeitos no trabalho (p=0.014) e limitação das atividades profissionais (p=0.005). Não houve diferenças na análise perceptivo-auditiva da voz e nos sintomas vocais. No grupo dos pastores evangélicos, houve correlações positivas: entre sintomas vocais não especificados e o escore total; o total de restrição nas atividades e as sessões comunicação diária e comunicação social do PPAV; entre desconforto em trato vocal e todas as sessões do PPAV; entre a análise perceptivo-auditiva da voz e o escore total, o total de limitação e de restrição nas atividades; as sessões autopercepção da severidade, comunicação diária, comunicação social e emoções do PPAV. Correlações negativas foram observadas: entre as sensações laringofaríngeas e as sessões autopercepção da severidade; trabalho e comunicação social do PPAV. No grupo dos não profissionais da voz, houve correlações positivas: entre o sintoma voz fraca, o escore total do PPAV e o total de restrição nas atividades; entre sensações laringofaríngeas e as sessões autopercepção da severidade, efeitos no trabalho, comunicação diária e comunicação social do PPAV; entre desconforto em trato vocal e as sessões autopercepção da severidade, restrição da participação na comunicação diária e emoções do PPAV; entre análise perceptivo-auditiva da voz e a sessão comunicação social do PPAV. Correlações negativas ocorreram: entre o sintoma falha na voz e a restrição de participação na comunicação social do PPAV; análise perceptivo-auditiva da voz e as sessões efeitos no trabalho e comunicação social do PPAV. Pastores evangélicos apresentaram elevada ocorrência de sensações na laringofaríngeas e maior percepção do impacto de uma alteração vocal na qualidade de vida, quando comparados a homens não profissionais da voz. No caso dos pastores, quanto maior o desconforto em trato vocal e a presença de uma alteração vocal, maior é o impacto percebido nas atividades vocais. / The present study sought to investigate the vocal and laryngopharyngeal symptoms, vocal quality, self-perception to vocal tract discomfort, and voice activity and participation profile of Evangelical pastors comparing the same aspects with non-professional users of the voice; to verify the correlation measure, both for pastors and for the control group, between participation profile between voice activity and participation profile (VAPP) and vocal quality, self-perception of vocal symptoms, sensations in the throat, and vocal discomfort. Sixty individuals were evaluated, male, divided into experimental and control groups. The following instruments were applied: Condition of Vocal Production (CVP) for sample characterization and verification of vocal symptoms and sensations in the throat, Discomfort in the Vocal Tract (VTD) and Voice Activity and Participation Profile (VAPP), as well as the perceptual voice analysis of the participants. The results were statistically analyzed with a significance level 5%. Evangelical pastors demonstrated a higher frequency than non-professionals: throat clearing (p=0.019), coughing up phlegm (p=0.015), burning in the throat (p=0.028), secretion/phlegm in throat (p< 0.001), dry throat (p< 0.001), tiredness when talking (p< 0.001), effort to talk (p<0.001) and dryness, more frequent (p=0.009) and more intense (p=0.006). In the comparison between groups, pastors reported higher levels at PPAV: total score (p=0.032), total limitation in activities (p=0.037), effects (p=0.014) and limitation of professional activities (p=0.005). No significant differences were found in the perceptual voice analysis and vocal symptoms. In the group of Evangelical pastors, there were positive correlations between vocal symptoms not specified and the total score; total participation restriction and daily communication and social communication sessions of the PPAV; between discomfort in the vocal tract and all sessions of the PPAV; between the perceptual voice analysis and total score, the total activity limitation and participation restriction, and the sessions: severity self-perception, daily communication, social communication and finally emotions of the PPAV. Negative correlations were observed: between the sensations in the throat and the self-perception of the severity; in job and social communication the PPAV. In the Group of non-professionals were positive correlations: between voice the voice weak and symptom the total score of the PPAV and total participation restriction; between sensations in the throat, as well as self perception of the severity, in job, daily and social communication of the PPAV; between discomfort in the vocal tract and sessions: the self-perception of severity, restriction participation in daily communication and emotions of the PPAV; between perceptual voice analysis and social communication session of the PPAV. Negative correlations occurred: between the failure in voice symptom and participation restriction and social communication of the PPAV; perceptual voice analysis and the effects in job and social communication of the PPAV. Evangelical pastors showed high occurrence of sensations in the throat and greater awareness in the impact of a vocal change in the quality of life, when compared to non-professionals. In the case of the pastors, the greater the discomfort in the vocal tract and the presence of a vocal change, the greater impact observed on vocals activities.

O presente estudo buscou: investigar sintomas vocais e laringofaríngeos, qualidade vocal, autorreferência a desconforto em trato vocal, e perfil de participação em atividades vocais de pastores evangélicos, comparando com os mesmos aspectos de homens não profissionais da voz; verificar a correlação entre o perfil de participação em atividades vocais e a qualidade vocal, autorreferência a sintomas vocais, sensações laringofaríngeas e desconforto em trato vocal, tanto para pastores quanto para não profissionais da voz. Foram avaliados 60 indivíduos, sexo masculino, divididos em grupos: experimental e controle. Foram aplicados os instrumentos: Condição de Produção Vocal (CPV) para caracterização da amostra e verificação dos sintomas vocais e sensações laringofaríngeas; Escala de Desconforto em Trato Vocal (EDTV) e Perfil de Participação em Atividades Vocais (PPAV), bem como a análise perceptivo-auditiva da voz dos participantes. Os resultados foram analisados estatisticamente, considerando o nível de significância 5%. Pastores evangélicos referiram, em maior frequência que homens não profissionais da voz: pigarro (p=0.019), tosse com catarro (p=0.015), ardor na garganta (p=0.028), secreção/catarro na garganta (p<0.001), garganta seca (p<0.001), cansaço ao falar (p<0.001), esforço ao falar (p<0.001), e secura mais frequente (p=0.009) e mais intensa (p=0.006). Na comparação entre os grupos, os pastores referiram valores mais elevados no PPAV: escore total (p=0.032), total de limitação nas atividades (p=0.037), efeitos no trabalho (p=0.014) e limitação das atividades profissionais (p=0.005). Não houve diferenças na análise perceptivo-auditiva da voz e nos sintomas vocais. No grupo dos pastores evangélicos, houve correlações positivas: entre sintomas vocais não especificados e o escore total; o total de restrição nas atividades e as sessões comunicação diária e comunicação social do PPAV; entre desconforto em trato vocal e todas as sessões do PPAV; entre a análise perceptivo-auditiva da voz e o escore total, o total de limitação e de restrição nas atividades; as sessões autopercepção da severidade, comunicação diária, comunicação social e emoções do PPAV. Correlações negativas foram observadas: entre as sensações laringofaríngeas e as sessões autopercepção da severidade; trabalho e comunicação social do PPAV. No grupo dos não profissionais da voz, houve correlações positivas: entre o sintoma voz fraca, o escore total do PPAV e o total de restrição nas atividades; entre sensações laringofaríngeas e as sessões autopercepção da severidade, efeitos no trabalho, comunicação diária e comunicação social do PPAV; entre desconforto em trato vocal e as sessões autopercepção da severidade, restrição da participação na comunicação diária e emoções do PPAV; entre análise perceptivo-auditiva da voz e a sessão comunicação social do PPAV. Correlações negativas ocorreram: entre o sintoma falha na voz e a restrição de participação na comunicação social do PPAV; análise perceptivo-auditiva da voz e as sessões efeitos no trabalho e comunicação social do PPAV. Pastores evangélicos apresentaram elevada ocorrência de sensações na laringofaríngeas e maior percepção do impacto de uma alteração vocal na qualidade de vida, quando comparados a homens não profissionais da voz. No caso dos pastores, quanto maior o desconforto em trato vocal e a presença de uma alteração vocal, maior é o impacto percebido nas atividades vocais. / The present study sought to investigate the vocal and laryngopharyngeal symptoms, vocal quality, self-perception to vocal tract discomfort, and voice activity and participation profile of Evangelical pastors comparing the same aspects with non-professional users of the voice; to verify the correlation measure, both for pastors and for the control group, between participation profile between voice activity and participation profile (VAPP) and vocal quality, self-perception of vocal symptoms, sensations in the throat, and vocal discomfort. Sixty individuals were evaluated, male, divided into experimental and control groups. The following instruments were applied: Condition of Vocal Production (CVP) for sample characterization and verification of vocal symptoms and sensations in the throat, Discomfort in the Vocal Tract (VTD) and Voice Activity and Participation Profile (VAPP), as well as the perceptual voice analysis of the participants. The results were statistically analyzed with a significance level 5%. Evangelical pastors demonstrated a higher frequency than non-professionals: throat clearing (p=0.019), coughing up phlegm (p=0.015), burning in the throat (p=0.028), secretion/phlegm in throat (p< 0.001), dry throat (p< 0.001), tiredness when talking (p< 0.001), effort to talk (p<0.001) and dryness, more frequent (p=0.009) and more intense (p=0.006). In the comparison between groups, pastors reported higher levels at PPAV: total score (p=0.032), total limitation in activities (p=0.037), effects (p=0.014) and limitation of professional activities (p=0.005). No significant differences were found in the perceptual voice analysis and vocal symptoms. In the group of Evangelical pastors, there were positive correlations between vocal symptoms not specified and the total score; total participation restriction and daily communication and social communication sessions of the PPAV; between discomfort in the vocal tract and all sessions of the PPAV; between the perceptual voice analysis and total score, the total activity limitation and participation restriction, and the sessions: severity self-perception, daily communication, social communication and finally emotions of the PPAV. Negative correlations were observed: between the sensations in the throat and the self-perception of the severity; in job and social communication the PPAV. In the Group of non-professionals were positive correlations: between voice the voice weak and symptom the total score of the PPAV and total participation restriction; between sensations in the throat, as well as self perception of the severity, in job, daily and social communication of the PPAV; between discomfort in the vocal tract and sessions: the self-perception of severity, restriction participation in daily communication and emotions of the PPAV; between perceptual voice analysis and social communication session of the PPAV. Negative correlations occurred: between the failure in voice symptom and participation restriction and social communication of the PPAV; perceptual voice analysis and the effects in job and social communication of the PPAV. Evangelical pastors showed high occurrence of sensations in the throat and greater awareness in the impact of a vocal change in the quality of life, when compared to non-professionals. In the case of the pastors, the greater the discomfort in the vocal tract and the presence of a vocal change, the greater impact observed on vocals activities.

A canção conta com o colorido das qualidades vocais de seus intérpretes, que através de diferentes sonoridades desempenham papel na expressividade e na construção de seu sentido. Dentre estas sonoridades estão as vozes-ruído, entendidas nesta pesquisa como qualidades vocais que apresentam ruído sonoro junto ao tom vocal. O presente estudo tem como objetivo investigar os aspectos intrínsecos do som proveniente de tais vozes - características fisiológicas, acústicas, psicoacústicas e psicodinâmicas -, e propor um levantamento de categoria, investigando sua relação com a expressividade da voz cantada através de uma escuta analítica. O recorte desta pesquisa compreende o modelo de canto popular brasileiro, no repertório do samba-canção da década de 1950, nas vozes de Dalva de Oliveira, Ângela Maria, Dolores Duran e Maysa. Os resultados apontam para o papel das qualidades vocais das intérpretes na construção do sentido da canção, onde a voz-ruído e sua sonoridade antagônica ajudam a delinear um estado emotivo expresso pela letra, assim como sugerem a identificação das cantoras às vertentes estéticas do samba-canção vigentes no período estudado. / The song counts on the color of the voice qualities of its performers, who through different sonorities play a role in expressiveness and in the construction of its meaning. Among these sonorities are the noise voices, understood in this research as voice qualities that present sonorous noise next to the vocal tone. The present study aims to investigate the intrinsic aspects of the sound coming from such voices - physiological, acoustic, psychoacoustic and psychodynamic characteristics - and to propose a category survey, investigating its relation with the expressiveness of the singing voice through an analytic listening. This research includes the popular Brazilian singing model, in the repertoire of the samba-canção of the 1950s, in the voices of Dalva de Oliveira, Ângela Maria, Dolores Duran and Maysa. The results point to the role of the voice qualities of the performers in the construction of the meaning of the song, where the noise voice and its antagonistic sonority help to delineate an emotional state expressed by the lyrics, as well as suggest the identification of the singers to the aesthetic aspects of the samba-canção during the study period.

O objetivo deste trabalho foi descrever a dinâmica não linear das vozes de homens adultos sem queixas vocais por meio dos padrões visuais de dinâmica vocal (PVDV). Participaram 77 homens falantes nativos do português brasileiro com idades entre 20 a 40 anos (média 30 anos ± 5,54 anos). Para análise não linear foi adotado o método de reconstrução do espaço de fase e gerado um gráfico bidimensional a partir de uma rotina desenvolvida no MatLab® 10.0. Este gráfico foi analisado qualitativamente pela técnica dos PVDV que considera três aspectos da configuração: número de laços das órbitas, regularidade e espaçamento dos traçados. Cada aspecto foi classificado em uma escala de 4 a 0, da melhor para a pior configuração. Todos os indivíduos apresentaram qualidade de voz adaptada na variabilidade normal de acordo com os resultados da avaliação perceptivo-auditiva pelo protocolo CAPE-V e da análise acústica pelo programa MDVP-Kay Pentax. A avaliação do protocolo CAPE-V apresentou média de 18,07 mm (± 4,14 mm), no grau geral da vogal /a/. Na avaliação acústica as médias foram de 125,44 Hz (± 20,78 Hz) para F0; 0,85% (± 0,64%) para jitter; 3,23% (± 1,75%) para shimmer e 0,13 (± 0,02) para NHR. Os resultados da dinâmica não linear por meio dos PVDV se mostrou com número de laços em grau 4 (85,71% com média de 3,84 ± 0,40), regularidade em grau 3 e 4 (ambos com 40,26% e média de 3,12 ± 0,95) e espaçamento em grau 3 (58,44% e média de 2,95 ± 0,76). Concluiu-se que os PVDV da vogal /a/ de homens adultos brasileiros com vozes adaptadas dentro da variabilidade normal apresentou padrão visual caracterizado em sua maioria por presença de 4 ou mais laços, traçados regulares ou com discretas irregularidades e com espaçamento entre as linhas de médio a pequeno. / This work intended to describe the nonlinear dynamics of voices from adult men without vocal complaints using a qualitative analysis of Vocal Dynamics Visual Pattern (VDVP). 77 men speakers of Brazilian Portuguese, aged between 20-40 years old (mean 30 years ± 5.54 years), participated. For the nonlinear analysis a Phase Space Reconstruction was adopted and a two-dimensional graphic was generated from a routine developed on MatLab® 10.0. This graphic was qualitatively analyzed by a VDVP technique, which considers three aspects of the configuration: orbits loop numbers, regularity and spacing of the traces. Each aspect was classified in a scale ranging from 4 to 0, from the better to the worst configuration. All subjects had voice quality adapted on normal variability according to the results of the perceptual evaluation protocol for CAPE-V and acoustic analysis by the program MDVP Kay-Pentax. The perceptual analysis using CAPE-V protocol showed an average of 18,07 mm (± 4,14 mm), in Overall Severity of vowel /a/. On the acoustic analysis, means of 125,44 Hz (± 20,78 Hz) to F0; 0,85% (± 0,64%) for jitter; 3,23% (± 1,75%) for shimmer and 0,13 (± 0,02) for NHR using MDVP program. The results of nonlinear dynamics through PVDV proved with the number of loops in degree 4 (85.71% with a mean of 3.84 ± 0.40), regularity in degree 3 and 4 (both with 40.26% and mean of 3.12 ± 0.95) and degree 3 in spacing (58.44% and mean 2.95 ± 0.76). It was concluded that PVDV of the vowel /a/ of adult males Brazilians with adapted voices on the normal variability presented visual pattern characterized mostly by the presence of 4 or more loops, regular tracings or with discrete irregularities and spacing between lines of medium to small.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-03-20T12:47:35Z No. of bitstreams: 1 Marcio Roberto Campos.pdf: 2117693 bytes, checksum: de21288c8044e845f15a419c5d1a5e18 (MD5) / Made available in DSpace on 2018-03-20T12:47:35Z (GMT). No. of bitstreams: 1 Marcio Roberto Campos.pdf: 2117693 bytes, checksum: de21288c8044e845f15a419c5d1a5e18 (MD5) Previous issue date: 2018-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Introduction: theoretical-practical knowledge is fundamental for a teacher and, usually, only with an appropriate method of teaching it is possible to transmit knowledge effectively. Thus, it is up to the singing teacher to master the specific technical issues of the art of teaching, as well as the particularities of each musical genre. Objective: to analyze the performance characteristics of a group of Brazilian teachers of popular singing. Method: a questionnaire specially designed for this study was applied, based on the literature and the researchers' experience. The instrument was divided into two parts: characterization of the sample and research on the performance of popular singing teachers. The survey was conducted online using the SurveyMonkey tool. Results: The sample was finalized with 175 teachers, 91 women and 84 men, predominantly in the age group of 30 to 39 years. About the method, 73.7% reported having a working method. For this group, five categories were created to name such methods. Of these categories, the one of known methods was the most outstanding, with 46.5%, followed by unnamed methods, with 33.3% and methods based on books, handouts, videos or singing schools, with 10.1%. In the description of the singing classes, seven categories were created and the most outstanding was the technique / exercises with 59.7%, followed by repertoire / performance with 54.3%, vocalizes / tuning with 36.4%, aspects related to the body with 34.1%, warm up with 32.6%, respiration / support with 31.0% and, finally, perception / proprioception with 24.0%. Conclusion: when analyzing the characteristics of the work of a group of teachers of popular singing we can conclude that these professionals have a method of work and, in general, in the singing class, the focuses are the techniques and the vocal exercises, as well as aspects related to repertoire and performance / Introdução: o conhecimento teórico-prático é fundamental para um professor e geralmente apenas com um método adequado de ensino se consegue transmitir de forma eficiente o conhecimento. Dessa forma, cabe, portanto ao professor de canto dominar as questões técnicas específicas da arte de ensinar, assim como das particularidades de cada gênero musical. Objetivo: analisar as características de atuação de um grupo de professores brasileiros de canto popular. Método: foi aplicado um questionário, elaborado especialmente para esse estudo, baseado na literatura e na experiência dos pesquisadores. O instrumento foi dividido em duas partes: caracterização da amostra e investigação sobre a forma de atuação de professores de canto popular. A pesquisa foi realizada online por meio da ferramenta SurveyMonkey. Resultados: a amostra foi finalizada com 175 professores, 91 mulheres e 84 homens e, com predomínio na faixa etária de 30 a 39 anos. Sobre o método 73.7% afirmaram possuir um método de trabalho. Para esse grupo foram criadas cinco categorias para nomear tais métodos. Entre as categorias com maior destaque, 46.5% para métodos conhecidos, 33.3% não deram nome para seus métodos e 10.1% para métodos baseado em livros, apostilas, vídeos ou escolas de canto. Na descrição das aulas de canto foram criadas sete categorias e a que teve maior destaque foi a de técnica / exercícios com 59.7%, seguida por repertório / performance com 54.3%, vocalizes / afinação com 36.4%. Na sequência as categorias aspectos relacionados ao corpo com 34.1%, aquecimento com 32.6%, respiração / apoio com 31.0% e por fim percepção / propriocepção com 24.0%. Conclusão: ao analisar as características do trabalho de um grupo de professores de canto popular concluímos que este profissional possui um método de trabalho e de maneira geral na aula de canto o foco são técnicas e exercícios vocais, além de aspectos relacionados ao repertório e a performance

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-03T11:15:29Z No. of bitstreams: 1 João Carlos Lopes.pdf: 1168494 bytes, checksum: 7471fd63dae9eed4eaff861bd2690d58 (MD5) / Made available in DSpace on 2018-04-03T11:15:29Z (GMT). No. of bitstreams: 1 João Carlos Lopes.pdf: 1168494 bytes, checksum: 7471fd63dae9eed4eaff861bd2690d58 (MD5) Previous issue date: 2018-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Elza Soares is considered as one of the greatest singers in Brazil. She stands out in the Brazilian popular music scenario for her voice and unique interpretations. Objective: to analyze, from the perspective of the Phonoaudiology, aspects of the life history, career and characteristics of the voice of the singer. Methodology: the present thesis is composed of two different studies. In the first one, a literature review on the singer’s life and career was carried out, along with an interview performed with the artist, which was interpreted according to content analysis proposed by Bardin. Four thematic categories have been created due to the investigation: woman and society, protagonism, influences and musical genres and career, interpretation and voice. In the second study, five of Elza’s featured songs have been selected to be investigated through a perceptual-auditory analysis by judges, phonoaudiologists and singing teachers. Results: It was possible to notice from the first study that, although our focus is on a singer who was noteworthy because of her voice, Elsa herself does not consider it as the prominent fact to her career and success. In the second study it was observed that Elza has kept the adequate pneumophonoarticulatory coordination and articulation; pitch has varied from medium to high in songs like “Malandro”, “A Carne” and “Opinião” and medium to low in “Se acaso você chegasse” and “Maria da Vila Matilde”, hard attack (“Se acado você chegasse”, “Opinião” and “Maria da Vila Matilde”), soft attack (“Malandro”) and hard/sudden (“Carne”); laryngopharyngeal resonance with moderate nasal focus (“A carne, “Opinião” and “Maria da Vila Matilde”), laryngopharyngeal with nasal compensatory focus (“Se acaso você chegasse”) and balanced (“Malandro”). Concluding Remarks: The routes opened and taken by a black interpreter of several aesthetic affiliations and musical styles in the second half of the twentieth century have been presented in the present study. An attempt has been made to analyze the singer Elza Soares in a general overview of the Brazilian music on biographical, vocal and musical issues. The singer behaves differently in each of her interpretations and her vocal characteristics change according to the singing style and musical genre, for she has created an artistic intervention greater than her own singing, although the singing was the means to such great end / Elza Soares é considerada uma das grandes cantoras do Brasil, pois ela se destaca no cenário da música popular brasileira por sua voz e interpretações absolutamente únicas. Objetivo: analisar, sob o olhar da Fonoaudiologia, aspectos da história de vida, carreira e características da voz da cantora. Métodos: a tese é composta por dois estudos distintos. No primeiro estudo, foi realizada uma revisão de literatura sobre sua vida e carreira, além de uma entrevista com a cantora, que, na discussão do estudo, foi interpretado segundo a análise de conteúdo de Bardin. Para tal investigação, foram criadas quatro categorias temáticas: mulher e sociedade; protagonismo; influências e gêneros musicais; e carreira, interpretação e voz. No estudo 2, foram selecionadas cinco canções de destaque na carreira da cantora para serem investigadas através de uma análise perceptivo-auditiva por juízes, fonoaudiólogos e professores de canto. Resultados: no estudo 1, observou-se que, apesar de termos uma cantora que se destacou no mercado por conta da sua voz, Elza não a coloca como fator de destaque e sucesso para a sua carreira. No estudo 2, Elza manteve a coordenação pneumofonoarticulatória e a articulação adequadas; pitch variou de médio para agudo nas canções “Malandro”, “A carne” e “Opinião”, e de médio para grave em “Se acaso você chegasse” e “Maria da Vila Matilde”; ataque duro em “Se acaso você chegasse”, ”Opinião” e “Maria da Vila Matilde”; ataque suave em “Malandro” e duro/brusco em “A carne”; ressonância laringofaríngea com foco nasal discreto em “A carne”, “Opinião” e “Maria da Vila Matilde”; laringofaríngea com foco nasal compensatório em “Se acaso você chegasse” e equilibrada em “Malandro”. Considerações finais: foram apresentadas as rotas abertas e percorridas, ao longo da segunda metade do século XX, por uma intérprete negra de diversas filiações estéticas e estilos musicais, e buscou-se empreender uma análise da cantora Elza Soares no panorama da música brasileira sobre questões biográficas, vocais e musicais. A cantora se porta de maneira distinta em cada uma de suas interpretações, e suas características vocais se modificam de acordo com o estilo do seu canto e do gênero musical, pois ela construiu uma intervenção artística muito mais ampla que o seu próprio canto, embora o canto seja o veículo disso tudo

Iu, Yiu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 163-173). / Abstracts in English and Chinese ; questionnaires also in Chinese. / Abstracts --- p.i / Acknowledgements --- p.iii / Table of Contents --- p.iv / Introduction --- p.1 / Chapter A. --- Objectives and Significance --- p.1 / Chapter B. --- Academic Issues and Literature Review --- p.4 / Chapter C. --- Theories and Methodologies --- p.18 / Chapter D. --- Structure of the Thesis --- p.20 / Chapter Part I: --- The Making of a Seiyu Culture in Japan / Chapter Chapter 1: --- What is Seiyu? --- p.24 / Chapter 1.1 --- Definition of Seiyu --- p.24 / Chapter 1.2 --- Scope of Works --- p.27 / Chapter 1.3 --- Training Institutions and Agencies --- p.32 / Chapter Chapter 2: --- The Historical Development of the Seiyu Profession in Japan --- p.38 / Chapter Part II: --- Cultural and Social Significance of Seiyu Culture / Chapter Chapter 3: --- Seiyu as Art and Industry --- p.56 / Chapter 3.1 --- Internal Factors --- p.58 / Chapter 3.2 --- External Factors --- p.64 / Chapter Chapter 4: --- Cultural and Social Impact of the Seiyu Culture --- p.78 / Chapter 4.1 --- Cultural Impact --- p.78 / Chapter 4.2 --- Social Impact --- p.92 / Chapter Part III: --- Comparative Study on Japanese Seiyu and Hong Kong Voice Artists / Chapter Chapter 5: --- The Popularization of the Japanese Seiyu and Local Voice Artists in Hong Kong --- p.101 / Chapter 5.1 --- Japanese Seiyu Steal the Limelight in Hong Kong --- p.102 / Chapter 5.2 --- Hong Kong Voice Artists Move out from the Backstage --- p.112 / Chapter 5.3 --- The Comparison of the Reception of Japanese Seiyu with That of Local Voice Artists in Hong Kong --- p.117 / Chapter Chapter 6: --- Comparison of the Dubbing Profession between Japan and Hong Kong --- p.123 / Chapter 6.1 --- Structural Differences in Dubbing Profession --- p.126 / Chapter 6.2 --- The Role of Voice Dubbing in Popular Culture --- p.135 / Concluding Analysis --- p.147 / References --- p.163 / Appendix --- p.174 / Chapter I) --- Questionnaire of Seiyu Culture in Hong Kong --- p.174 / Chapter II) --- Sample Interview Questions for Seiyu Fans --- p.177 / Chapter III) --- Sample Interview Questions for Voice Artists --- p.178

The standard vocal repertoire for soprano requires use of the uppermost segment of the female voice, which is typically produced using whistle register phonation. Voice teachers recognize that sopranos use whistle register phonation during performance to produce pitches in the highest segment of their range; however, the use of whistle register phonation as a training tool for female singers of all voice types is less common and the benefits of using whistle registration exercises to condition the female voice are not widely known. While several pedagogical manuals recommend vocal exercises that use whistle register phonation in the range of the second passaggio and in the highest segment of the female voice, no research has been conducted to investigate the benefits of singing in whistle register. The purpose of this study was to measure the efficacy of vocal exercises that incorporate whistle register phonation as treatment for poor intonation and pressed and/or breathy vocal quality in female singers with vocal challenges in the second passaggio of their voice. The influence of whistle register phonation on extending vocal range was also investigated. A treatment-no treatment (ABAB) research design was used. Five female vocalists attended 16 weekly sessions. During the treatment phases, participants received weekly instruction in vocal exercises using whistle register phonation and practiced these activities daily. Audio samples of two vocal exercises and a repertoire excerpt were collected weekly. Measurements taken during the treatment phases were compared to measurements taken during the no-treatment phases. Results of comparative Voice Range Profiles and a weekly Range Extension Measurement Task showed a positive relationship between practice of whistle register exercises and an increase in the upper pitch range in all subjects. Subjects gained an average of 2.4 semitones during Treatment Phase 1, when the whistle register tasks were introduced. Subjects lost an average of 1.2 semitones during the No Treatment phase, when the practice of whistle register tasks was withdrawn. Subjects gained an average of 2.2 semitones during Treatment Phase 2, when the whistle register tasks were reintroduced. The average overall gain in the upper pitch range was +4.3 semitones for mezzo-sopranos and +2 semitones for sopranos. In addition, data collected to measure the pitch range over which whistle register phonation was possible showed an average range of 14 semitones (D5 - E6); supporting the notion that whistle register phonation is possible in the range of the second passaggio and could be developed in this range by female singers of all voice types. Eight voice teachers rated each audio sample for intonation and vocal quality during register transition through the second passaggio. Mixed-model ANOVA (analysis of variance) was conducted to compare the effect of whistle register phonation exercises on quality of intonation, vocal quality, the presence and severity of breathiness, and the presence and severity of strain at each phase of the study. Significance was determined at the p<.05 level. There was a significant effect of whistle register phonation exercises on severity of Breathiness [F(3,209) = 6.66, p = 0.0003]. Mean severity ratings for Breathiness for all subjects were significantly lower during No Treatment than in Treatment Phase 1 and Treatment Phase 2, suggesting that breathiness was less severe when the subjects were not practicing whistle register exercises. Severity of strain generally decreased continually throughout all phases. Mean severity ratings for Strain were consistently lower for Treatment Phase 1, No Treatment, and Treatment Phase 2 compared to Baseline. The differences between Treatment Phase 1, No Treatment, and Treatment Phase 2 were statistically significant [F(3,209) = 3.52, p = 0.0161]. Mean Intonation ratings generally increased through Treatment Phase 1 and were significantly higher for the No Treatment phase and Treatment Phase 2 compared to Baseline [F(3,209) = 2.99, p = 0.0322]. The effect of whistle register phonation exercises on vocal quality was not significant at the p<.05 level. A Pearson Correlation Coefficient (PCC) was used to calculate the intra-judge reliability for perceptual evaluation of all vocal tasks. Statistical analysis comparing the judges' ratings for identical audio samples shows that in this study the judges were consistent in their rating of Breathiness (PCC = 0.76) and had difficulty rating Strain (0.57), Vocal Quality (0.60), and Intonation (0.65). A PCC was used to calculate the correlations between each pair of judges' rating for all vocal tasks, and Cronbach's Alpha was used as an overall measure of the inter-rater reliability. Statistical analysis comparing the judges' ratings for all audio samples shows that in this study the judges were consistent in their rating of Breathiness (α = 0.80), mediocre in rating Strain (0.62) and Vocal Quality (0.69), and not consistent in their rating of Intonation (0.53). The results of the current study suggest that whistle register exercises can be used to facilitate range extension for all female voice types. That performance of whistle register phonation exercises correlated to increased breathiness implies that the exercises tested in this study may not be an effective treatment for singers with breathy voices. Further research investigating the influence of whistle register exercises on intonation, overall vocal quality, and severity of strain is needed. Results of the intra- and inter-rater reliability tests demonstrate a need for research that explores more reliable ways to quantify perceptual evaluation of vocal quality in singers.

Speech signal is basically meant to carry the information about the linguistic message. But, it also contains the speaker-specific information. It is generated by acoustically exciting the cavities of the mouth and nose, and can be used to recognize (identify/verify) a person. This thesis deals with the speaker identification task; i.e., to find the identity of a person using his/her speech from a group of persons already enrolled during the training phase. Listeners use many audible cues in identifying speakers. These cues range from high level cues such as semantics and linguistics of the speech, to low level cues relating to the speaker's vocal tract and voice source characteristics. Generally, the vocal tract characteristics are modeled in modern day speaker identification systems by cepstral coefficients. Although, these coeficients are good at representing vocal tract information, they can be supplemented by using both pitch and voicing information. Pitch provides very important and useful information for identifying speakers. In the current speaker recognition systems, it is very rarely used as it cannot be reliably extracted, and is not always present in the speech signal. In this thesis, an attempt is made to utilize this pitch and voicing information for speaker identification. This thesis illustrates, through the use of a text-independent speaker identification system, the reasonable performance of the cepstral coefficients, achieving an identification error of 6%. Using pitch as a feature in a straight forward manner results in identification errors in the range of 86% to 94%, and this is not very helpful. The two main reasons why the direct use of pitch as a feature does not work for speaker recognition are listed below. First, the speech is not always periodic; only about half of the frames are voiced. Thus, pitch can not be estimated for half of the frames (i.e. for unvoiced frames). The problem is how to account for pitch information for the unvoiced frames during recognition phase. Second, the pitch estimation methods are not very reliable. They classify some of the frames unvoiced when they are really voiced. Also, they make pitch estimation errors (such as doubling or halving of pitch value depending on the method). In order to use pitch information for speaker recognition, we have to overcome these problems. We need a method which does not use the pitch value directly as feature and which should work for voiced as well as unvoiced frames in a reliable manner. We propose here a method which uses the autocorrelation function of the given frame to derive pitch-related features. We call these features the maximum autocorrelation value (MACV) features. These features can be extracted for voiced as well as unvoiced frames and do not suffer from the pitch doubling or halving type of pitch estimation errors. Using these MACV features along with the cepstral features, the speaker identification performance is improved by 45%.

<p>In many earlier investigations a recall advantage of auditory lists spoken in a single voice has been found over recall of lists spoken in two alternating voices. One explanation proposed is an organization strategy which makes recall of alternating-voice lists so difficult. The strategy implies sorting same-voice words into same-voice groups at encoding. Based on this proposition, it was assumed that voice-by-voice recall would be better than recall in order of presentation, as then the recall instruction and the organization of items in memory would be in concordance. The present experiment tested and was unable to support this hypothesis. However, an intriguing interaction between recall instruction and the sex of the participants was found, indicating that males perform worse in the voice-by-voice recall instruction than in serial recall while females’ performance did not differ between the two recall instructions. Implications of these results are discussed.</p>