Diss. (sammanfattning) Stockholm : Karol. inst., 2001. / Härtill 6 uppsatser.

In this thesis, I aimed to explore vocal attractiveness from an evolutionary perspective: how listener's preferences for vocal qualities of potential partners could increase mating success and reproductive success. Chapters 1-4 outline the background to the thesis, reviews acoustics, sexual selection theory, and human mate-choice. In chapter 5, I correlated attributions made to voices to the acoustic properties of the voices. In men's voices, pitch negatively predicted vocal attractiveness. Attributions of masculinity, size, age, health and vocal attractiveness were all positively correlated. In women's voices, pitch, formant dispersion and perceived health positively predicted vocal attractiveness. Masculinity, size and age negatively predicted vocal attractiveness. In chapter 6, I measured the effect of manipulating fundamental and/or formant frequencies (apparent vocal-tract length) on vocal attributions. Women found men's voices with lowered voice pitch and decreased formant dispersion more attractive, masculine, large, older and healthier. Women's size predicted preference for male vocal- tract length. In chapter 7, I explored attitudes to voices speaking vowels and whole sentences using a correlation design and acoustic manipulations. Women's self-rated attractiveness positively predicted vocal masculinity preferences. Most of the remaining studies focus on how hormones relate to vocal production and perception. Women with less oestrogen showed the biggest menstrual cycle shifts in vocal masculinity preferences, preferring masculinity most in the fertile phase (chapter 8). Men's testosterone levels predicted the size of changes in attributions of dominance to men's voices (chapter 9). Women's voice pitch correlated with facial-metric masculinity and facial attractiveness (chapter 10). Men preferred women's voices with raised pitch to lowered pitch at multiple levels of starting pitch (chapter 11). These findings indicate men preferred femininity to averageness. In chapter 12, I relate the work in this thesis to other work and the broader evolutionary perspective.

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Orientador: Sara Pereira Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T20:50:43Z (GMT). No. of bitstreams: 1 Rondina_AlessandraGuedes_M.pdf: 138120 bytes, checksum: 49106402e7bd326164d433357270e0f1 (MD5) Previous issue date: 2005 / Résumé: L¿ objectif de ce travail est de penser l¿orthophonie comme une science à l¿usage de l¿acteur dans son processus créatif en arts scéniques. Il met l¿accente sur la problématique de l¿interprétation vocale des émotions extrêmes, comme c¿est le cas dans les représentations vocales de personnages qui exigent de l¿émission de voix de l¿acteur plus qu¿elle ne peut offir de manière naturelle.Quand lórthophonie a pour but soigner des voix pathologiques, un regard plus organique du patiente est mis en avance. Il ságit de proposer des travails thérapeutiques qui restituent les voix jugées perdues. On restitue la clarté, la brillance, l¿éloquence. Ce travail cependant ne parle pas d¿exercices thérapeutiques mais du fondement pour mettre en place n¿importe quel exercice dans la recherche d¿une voix extra quotidien (voix poétique), ce fondement étant la conscience corporelle vocale. Cette conscience permettra l¿apprentissage de manière organique, celle qu¿on retrove dans la thérapie vocale, ce qui donne à l¿acteur des outils pour mettre en oeuvre as production vocale de façon autonome / Resumo: Esta dissertação visa à colaboração da fonoaudiologia com o processo criativo do ator de artes cênicas. Ela enfoca a problemática da interpretação vocal de emoções extremas, como representar vocalmente personagens que exijam da sua voz além do que ela, naturalmente, poderia oferecer. Quando a fonoaudiologia visa tratar vozes patológicas, busca uma visão mais orgânica do paciente. Trabalhos terapêuticos que resgatam as vozes que em algum momento foram julgadas perdidas. Resgata-se a clareza, o brilho, a eloquência. Esse trabalho, nesse momento, não visa falar de exercícios, mas da base para se realizar qualquer exercício, que é a consciência corporal vocal, em busca de uma voz extra cotidiano (voz poética). Consciência que permitirá o aprendizado de forma orgânica, da mesma forma que se alcança na terapia vocal, instrumentalizando o ator a realizar a sua produção vocal de modo autônomo / Mestrado / Mestre em Artes

The purposes of this study were to describe the characteristics of the changing male voice in 4th, 5th and 6th grade students using Cooksey's maturation stages and, to compare the age-of-onset of the male voice change in African American, White, and Hispanic male students. Participants included volunteer 4th (n = 61), 5th (n = 73), and 6th grade male students (n = 63) from 2 urban elementary schools, 5 suburban elementary schools, 1 suburban middle school and 1 urban middle school in the North Texas region. The three ethnic groups represented in this study were: African American (n = 62), White (n = 58), and Hispanic (n = 77). Results indicated that approximately 46% of 4th grade participants, 62% of 5th grade participants, and 67% of 6th grade participants were classified as changing voices. A descriptively larger percentage of African American participants were classified as changing voices than Hispanic and White participants. Also, a larger percentage of African American and Hispanic participants were descriptively classified in the more advanced stages of the voice change than White participants. Urban African American, White, and Hispanic participants had a larger percentage of males classified as changing voices than suburban African American, White, and Hispanic participants. Results of a one-way, between subjects ANOVA revealed no significant main effect for ethnicity, F (2, 51) = .42, p = .66, η2 = .02. The overall mean age-of-onset for participants in this study was approximately 11.20 years of age.

INTRODUÇÃO: Os exercícios de vibração sonorizada de lábios e língua têm-se se mostrado eficientes quando utilizados tanto no tratamento de pacientes disfônicos como no aquecimento ou preparação vocal. Há grande variação do coeficiente de contato de um mesmo sinal eletroglotográfico e dificuldade na sincronização da luz estroboscópica durante a emissão dos exercícios de vibração sonorizada de língua e lábios, sendo levantada a possibilidade de aperiodicidade de vibração das pregas vocais durante a execução desses exercícios. OBJETIVO: descrever a vibração das pregas vocais durante a emissão de vibrações sonorizadas de língua e lábios comparando-as com a emissão da vogal /E/ sustentada quanto à regularidade e amplitude dos ciclos vibratórios na eletroglotografia, em cantores eruditos profissionais. METODOLOGIA: Participaram desse estudo 10 cantores eruditos profissionais, que emitiram a vogal /E/ sustentada e os exercícios de vibração sonorizados de língua e de lábios na mesma frequência e intensidade durante a execução da eletroglotografia. Foi realizada a inspeção visual da onda eletroglotográfica, quanto à periodicidade e amplitude, além do espectrograma do sinal quanto aos harmônicos presentes em cada amostra. As amostras foram randomizadas e analisadas por 3 avaliadoras. Além disso, foram extraídas as medidas de jitter e shimmer do sinal eletroglotográfico para confirmação dos resultados, além da frequência da variação de vibração dos exercícios de vibração sonorizada. RESULTADOS: Os avaliadores tiveram coeficiente alfa de Cronbach em mais de 0,9 na maior parte das amostras, indicando alto grau de concordância. Na inspeção visual do sinal eletroglotográfico foi considerada na vogal /E/ sustentada: onda periódica com amplitude regular e harmônicos múltiplos da frequência fundamental. Durante o exercício de vibração sonorizada de língua e lábios foram consideradas onda quase-periódica com amplitude oscilante (frequencia aproximada de 23Hz e 24Hz) e harmônicos múltiplos de 23 Hz e 24Hz,aproximadamente. CONCLUSÃO: os exercícios de vibração sonorizada de língua e de lábios assemelham-se entre si e se diferenciam da emissão da vogal /E/ sustentada tanto nas fortes, quanto nas fracas intensidades. A vibração das pregas vocais são mais periódicas durante a emissão da vogal sustentada do que na produção dos exercícios. Nas vibrações sonorizadas de lábios e de língua a forma e a amplitude da onda Lx se diferenciam entre si, mas com padrão de repetição ao longo do tempo, próximo aos 24 Hz. Esse comportamento gera parciais de harmônicos que sugerem movimentação de onda mucosa concomitante à vibração do ponto articulatório (língua ou lábios) / INTRODUCTION: Lip and tongue trills have been effectively used as vocal warmups in the treatment of dysphonia and in the training of professional voice users. In a previous study, we found that the closed quotient varied widely during tongue and lip trills. We encountered difficulty in synchronizing the stroboscopic illumination with the vocal fold vibration during the trill exercises. We hypothesize that there is aperiodicity of vocal fold vibration during tongue and lip trills. AIM: to compare the vocal fold vibration seen during lip and tongue trills with that seen during phonation of the sustained vowel /E/, in terms of the periodicity of the EGG wave form and the amplitude of the EGG signal, in professional voice users. METHODS: We used electroglottography (EGG) to compare the vocal fold vibration seen during tongue and lip trills with that seen during phonation of the sustained vowel /E/, in terms of the EGG waveform periodicity and signal amplitude, in 10 classically trained, professional singers. The participants produced the sustained vowel /E/ and performed tongue and lip trills at the same frequency and intensity. The periodicity of the waveform and the amplitude of the signal were visually analyzed by three blinded, experienced readers. To confirm the visual analysis results, we measured the jitter and shimmer of the signal and the frequency of variation in vocal fold vibration during the trill exercises. RESULTS: Cronbach\'s alpha coefficient values were high (>0,9), indicating high inter-rater reliability. In sustained vowel /E/ was considered periodic wave and regular amplitude. In tongue and lip trills the waveform EGG was considered quasi-periodic and the amplitude of the EGG signal was classified as oscillating. The mean amplitude was as follows: 24.4 Hz during lip trills performed at high intensity; 24.7 Hz during tongue trills performed at high intensity; 23.3 Hz during lip trills performed at low intensity; and 24.3 Hz during tongue trills performed at low intensity. The jitter and shimmer were higher in lip and tongue trills. The harmonics seen on the narrow-band spectrograms were classified as being multiples of the fundamental frequency for the sustained vowel phonation task and as being below the fundamental frequency for lip and tongue trills, the mean frequency of the harmonics being as follows: 23.7 Hz during lip trills performed at high intensity; 24 Hz during tongue trills performed at high intensity; 23.7 Hz during lip trills performed at low intensity; and 23.2 Hz during tongue trills performed at low intensity. CONCLUSION: In terms of the EGG waveform, tongue trills and lip trills are similar regardless of the intensity at which they are performed (i.e., high or low), differing, however, from the sustained vowel /E/. The vibration of the vocal folds is modified according to the supraglottic movement in trills exercices

INTRODUÇÃO: Os exercícios de vibração sonorizada de lábios e língua têm-se se mostrado eficientes quando utilizados tanto no tratamento de pacientes disfônicos como no aquecimento ou preparação vocal. Há grande variação do coeficiente de contato de um mesmo sinal eletroglotográfico e dificuldade na sincronização da luz estroboscópica durante a emissão dos exercícios de vibração sonorizada de língua e lábios, sendo levantada a possibilidade de aperiodicidade de vibração das pregas vocais durante a execução desses exercícios. OBJETIVO: descrever a vibração das pregas vocais durante a emissão de vibrações sonorizadas de língua e lábios comparando-as com a emissão da vogal /E/ sustentada quanto à regularidade e amplitude dos ciclos vibratórios na eletroglotografia, em cantores eruditos profissionais. METODOLOGIA: Participaram desse estudo 10 cantores eruditos profissionais, que emitiram a vogal /E/ sustentada e os exercícios de vibração sonorizados de língua e de lábios na mesma frequência e intensidade durante a execução da eletroglotografia. Foi realizada a inspeção visual da onda eletroglotográfica, quanto à periodicidade e amplitude, além do espectrograma do sinal quanto aos harmônicos presentes em cada amostra. As amostras foram randomizadas e analisadas por 3 avaliadoras. Além disso, foram extraídas as medidas de jitter e shimmer do sinal eletroglotográfico para confirmação dos resultados, além da frequência da variação de vibração dos exercícios de vibração sonorizada. RESULTADOS: Os avaliadores tiveram coeficiente alfa de Cronbach em mais de 0,9 na maior parte das amostras, indicando alto grau de concordância. Na inspeção visual do sinal eletroglotográfico foi considerada na vogal /E/ sustentada: onda periódica com amplitude regular e harmônicos múltiplos da frequência fundamental. Durante o exercício de vibração sonorizada de língua e lábios foram consideradas onda quase-periódica com amplitude oscilante (frequencia aproximada de 23Hz e 24Hz) e harmônicos múltiplos de 23 Hz e 24Hz,aproximadamente. CONCLUSÃO: os exercícios de vibração sonorizada de língua e de lábios assemelham-se entre si e se diferenciam da emissão da vogal /E/ sustentada tanto nas fortes, quanto nas fracas intensidades. A vibração das pregas vocais são mais periódicas durante a emissão da vogal sustentada do que na produção dos exercícios. Nas vibrações sonorizadas de lábios e de língua a forma e a amplitude da onda Lx se diferenciam entre si, mas com padrão de repetição ao longo do tempo, próximo aos 24 Hz. Esse comportamento gera parciais de harmônicos que sugerem movimentação de onda mucosa concomitante à vibração do ponto articulatório (língua ou lábios) / INTRODUCTION: Lip and tongue trills have been effectively used as vocal warmups in the treatment of dysphonia and in the training of professional voice users. In a previous study, we found that the closed quotient varied widely during tongue and lip trills. We encountered difficulty in synchronizing the stroboscopic illumination with the vocal fold vibration during the trill exercises. We hypothesize that there is aperiodicity of vocal fold vibration during tongue and lip trills. AIM: to compare the vocal fold vibration seen during lip and tongue trills with that seen during phonation of the sustained vowel /E/, in terms of the periodicity of the EGG wave form and the amplitude of the EGG signal, in professional voice users. METHODS: We used electroglottography (EGG) to compare the vocal fold vibration seen during tongue and lip trills with that seen during phonation of the sustained vowel /E/, in terms of the EGG waveform periodicity and signal amplitude, in 10 classically trained, professional singers. The participants produced the sustained vowel /E/ and performed tongue and lip trills at the same frequency and intensity. The periodicity of the waveform and the amplitude of the signal were visually analyzed by three blinded, experienced readers. To confirm the visual analysis results, we measured the jitter and shimmer of the signal and the frequency of variation in vocal fold vibration during the trill exercises. RESULTS: Cronbach\'s alpha coefficient values were high (>0,9), indicating high inter-rater reliability. In sustained vowel /E/ was considered periodic wave and regular amplitude. In tongue and lip trills the waveform EGG was considered quasi-periodic and the amplitude of the EGG signal was classified as oscillating. The mean amplitude was as follows: 24.4 Hz during lip trills performed at high intensity; 24.7 Hz during tongue trills performed at high intensity; 23.3 Hz during lip trills performed at low intensity; and 24.3 Hz during tongue trills performed at low intensity. The jitter and shimmer were higher in lip and tongue trills. The harmonics seen on the narrow-band spectrograms were classified as being multiples of the fundamental frequency for the sustained vowel phonation task and as being below the fundamental frequency for lip and tongue trills, the mean frequency of the harmonics being as follows: 23.7 Hz during lip trills performed at high intensity; 24 Hz during tongue trills performed at high intensity; 23.7 Hz during lip trills performed at low intensity; and 23.2 Hz during tongue trills performed at low intensity. CONCLUSION: In terms of the EGG waveform, tongue trills and lip trills are similar regardless of the intensity at which they are performed (i.e., high or low), differing, however, from the sustained vowel /E/. The vibration of the vocal folds is modified according to the supraglottic movement in trills exercices