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Salsbury, Katharine. "ESTILL VOICE TRAINING: THE KEY TO HOLISTIC VOICE AND SPEECH TRAINING FOR THE ACTOR." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3384.
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The aim of this paper is to examine the Estill Voice Training System to explain how it may be used in tandem with widely accepted voice and speech methodologies such as those developed by Kristin Linklater, Patsy Rodenburg and Dudley Knight/Phil Thompson in order produce versatile performers able to meet the vocal gauntlet flung at the feet of the contemporary actor. Students must be able to effectively function as voice-over talent, sing musical theatre, rattle off classical text with aplomb and work in film, all with superior vocal health. Synthesizing proven techniques with the skills presented in the inter-disciplinary Estill Voice Training System, I hope to develop a new, anatomically specific, voice and speech training progression to efficiently assist the student actor discover the physical and emotional vocal ranges demanded of the contemporary actor.
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Wessendarp, Emily. "Effects of the Linklater Voice Training Technique on the Voices of Student Actors." University of Toledo / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1340156464.
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Ray, Christin. "Effects of Respiratory Muscle Strength Training in Classically Trained Singers." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405505205.
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Makwana, Alpesh Purshottam. "VOICE TRACK COMPUTER BASED SIMULATION FOR MEDICAL TRAINING." Master's thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4016.
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Varying the delivery rate of audio-based text within web-based training increases the effectiveness of the learning process and improves retention when compared with a fixed audio-based text delivery rate. To answer this question, two groups of 20 participants and one group of 10 participants were tested using the Web-based Anatomy & Physiology course modules developed by Medsn, Inc. The control group received the static speed of 128 words per minute while the experimental group received the initial speed of 128 words per minute with the option to change the speed of the audio-based text. An additional experimental group received the initial speed of 148 words per minute also having the option to vary the speed of the audio-based text. A three way single variable Analysis of Variance (ANOVA) was utilized to examine speed of voice presentation differences. The results were significant, F (2, 47) = 4.67, p=0.014, ç2 = 0.166. The mean for the control group was (M = 7.2, SD = 1.69) with the experimental groups at, (M = 8.4, SD = 1.31) and with extra groups at (M = 8.6, SD = 1.26).<br>M.S.<br>Other<br>Engineering and Computer Science<br>Modeling and Simulation
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Sulter, Arend Marten. "Variation of voice quality features and aspects of voice training in males and females." [S.l. : [Groningen] : s.n.] ; [University Library Groningen] [Host], 1996. http://irs.ub.rug.nl/ppn/152639853.
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Steyn, Morné. "Training the male student actor’s performance voice for optimized expression of intent and emotion." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46280.
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A significant part of an actor’s craft is creating and presenting characters with substantial credibility in order to stimulate a belief in the character from the point of view of an audience member (McGaw 1975; McGaw et al. 2011). To do this the actor relies on and utilizes his body, voice, imagination, experiences and so forth, for the creation of such characters (Zarrilli 1995; Benedetti 1998:5; Zarrilli 2002). This makes body and voice training within any actor training program pivotal.
As an entry-level voice teacher in the tertiary situation I was confronted with a complex profile of the group of students to be taught. This profile influences or even determines the outcomes of the teaching opportunity. Gender differences were one of the most eminent markers of this complexity. For this project I decided to research the male voice as it possibly requires specific approaches to assist with the attainment of vocal ability.
This study is concerned with the unique precepts of the male student actor in order to gain greater understanding of both the male physiological and anatomical construct, as well as the socio-cultural concept of ‘maleness’ as it refers to voice. Voice, in a cultural and societal paradigm, is subject to and as such influenced or shaped by social identity (Karpf 2006: 121). The actor’s socio-cultural paradigm potentially limits the vocal function and expression of the male voice in performance. This study draws on prior research when documenting unique and substantial structural differences typical of the male voice. It asks the question: What are the attributes that feed into the male student actor’s voice that have to be taken into account by the theatre voice teacher when viewed through anatomical, physiological and socio-cultural lenses?
In order to answer the investigative question chapter two of this study consults scholarly materials concerning the various anatomical and physiological attributes of voice production (that is, its functional aspects) with specific reference to the male voice. It is argued that this can be seen as a description of voice production as object. Chapter three concerns itself with the impact of various socio-cultural influences on the voice with specific reference to the male voice. In this sense, the potentially subjective and image-defining concerns of the male voice that might impinge on vocal explorations are considered. Chapter four provides example explorations that may be used in a theatre voice class to indicate how the knowledge gained in chapters two and three will influence the facilitation of these explorations. It argues that it is an in-depth knowledge of voice, where voice materialises simultaneously both as object and as subject, that prepares the entry-level voice teacher to facilitate the development of the male student actor’s voice in a holistic manner.
This dissertation concludes that, within the theatre voice training class, it is imperative that the voice teacher acknowledges and respects the sex-gender conflation of the male student actor and encourages him to explore and build a ‘voice’ that is capable of optimal expression in lieu its functional capabilities.<br>Dissertation (MA)--University of Pretoria, 2014.<br>tm2015<br>Drama<br>MA<br>Unrestricted
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Peart, Reid Katherine Louise. "Investigation of theatre voice training : (based on the Linklater method)." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/2006.
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Cook, Tim. "Voice, power and trust : a critical exploration of the factors facilitating student voice within a Secure Training Centre." Thesis, University of East London, 2015. http://roar.uel.ac.uk/4621/.
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This study is concerned with exploring issues relating to voice, power and trust for trainees within a Secure Training Centre, whilst those trainees participated in an evening activities programme in 2009. Classes were led by myself twice a week and attended by groups of up to eight trainees, plus their secure care officers. The trainees were vulnerable adolescent males who had either committed crimes or were remanded in custody. As part of these classes, the trainees had the opportunity to share their perspectives on a variety of topics. This occurred through both traditional research methods and a variety of innovative techniques, such as the use of wireless keyboards to facilitate a text based dialogue across a range of topic headings. Over a period of time, trust was built and insights explored. In my research I have made use of a hybrid approach, borrowing insights from Critical Ethnography and Practitioner Research. By doing so, I have attempted to show that through a critical approach to power and ideology, the provision of opportunities for young people to express their insights can lead to various positive outcomes. By combining critical ideas with those typically associated with Practitioner Research, it has been possible to reflect on my own practice to improve outcomes for young people. This thesis is an exciting exploration of how young people, held within secure accommodation, react to the opportunity of expressing their views. It is relevant because it explores the perspectives and empowerment of young people who have been incarcerated, an area which is recognised as being profoundly challenging.
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Collins, Nicole Lynn. "Training Auditory-Perceptual Voice Ratings Over Time: Effects on Rater Confidence." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1619161559939641.
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Wong, Yee-ho Amy, and 黃怡皓. "The effects of relative frequency of augmented feedback on resonant voice training in adults and children with normal voice." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48329393.
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Motor learning is widely investigated in the literature on sports and rehabilitation sciences. In recent years, researchers have begun to apply general motor learning principles to voice motor learning. This study investigated the effects of relative frequency (100% feedback versus 50% feedback versus 0% feedback) of augmented vibration feedback on the acquisition of resonant voice in a motor learning task. Thirty adults and 30 children with normal voice were randomly assigned to three groups of different relative frequencies of feedback: 100%, 50% and 0% feedback. During resonant voice training, participants were taught how to read aloud nasal nonsense consonant vowel (CV) syllables and short phrases with resonant voice. Vibration feedback using piezoelectric accelerometers placed at the nasal bridge was provided for participants. Participants in the 100% feedback group received vibration feedback after the production of every training stimulus. Participants in the 50% feedback group received vibration feedback after the production of every two training stimuli. Participants in the 0% feedback group received no vibration feedback during the training sessions. Motor learning and generalization were assessed using accelerometric vibrations detected at baseline (before training), during training, retention and transfer (one week after completing the training).
With respect to the adult participants, vibration feedback presented at frequencies of 100%, 50% and even at 0% was effective in facilitating the acquisition of resonant voice. Generalization of resonant voice production to untrained short phrases was also evidenced. No significant time (time phase) by group (different relative frequency of feedback) interaction effect was shown on three groups of relative frequencies of feedback on learning or generalization in the adult group.
With respect to the child participants, significant time effect was observed in most of the trained stimuli and untrained stimuli. Significant time (time phase) by group (different relative frequency of feedback) interaction effect was noted across three relative frequencies of feedback groups. The results demonstrated that the greatest increment in accelerometric vibrations occurred in the 100% feedback group, followed by 50% feedback group. The group which received 0% feedback had the least improvement on acquiring resonant voice. The present study demonstrated that there were learning differences in acquiring resonant voice between adults and children. Adults did not require as much feedback during the acquisition of resonant voice when compared to children. Children required more feedback than adults in order to facilitate their learning. The differences in learning of this voice task between adults and children may shed light on later voice motor learning studies. The provision of relative frequency of feedback may need to be adjusted when working with different age groups in both populations.<br>published_or_final_version<br>Speech and Hearing Sciences<br>Master<br>Master of Philosophy
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Cheung, Yuen-man Ophelia. "The effects of task instructions on the training of extrinsic laryngeal muscle relaxation in phonation." Click to view the E-thesis via HKU Scholars Hub, 2007. http://lookup.lib.hku.hk/lookup/bib/B42004676.
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Thesis (B.Sc)--University of Hong Kong, 2007.<br>"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2007." Includes bibliographical references (p. 23-24). Also available in print.
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Fereday, Luzita. "The shifting voice: Investigating accent and dialect training for West Australian actors." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1722.
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This masters research examines accent and dialect training for actors in the Western Australian context and seeks an understanding about what aural, embodied and cognitive attributes an actor needs in order to move from one accent to another. In particular, this research explores the characteristics of Australian dialects as grounds for the acquisition of the Standard British accent or Received Pronunciation.
The purpose of this research was to identify the expertise required when teaching an accent to acting students in pre-professional levels of tertiary training. This practice-led approach to the research included interviewing, observation, the circulation of questionnaires, and my own reflective practice as a voice and dialect coach on several stage productions. The participants for this research included experts in the field of vocal and dialect training, students at two tertiary institutions in Western Australia, the Western Australian Academy of Performing Arts and Curtin University’s production of Dear Charlotte, in 2013.
This thesis presents an analysis and research findings of vocal awakenings spring-boarding from working on the play, Dear Charlotte, a practical component of this research. The research has confirmed the benefits of phonetics as an important aspect of accent acquisition. The discussion focuses on the techniques used and the challenges actors face when making the shift from their idiolects to Received Pronunciation. It outlines the importance of an actor’s cognition, listening, and embodiment as facets of voice that need attention when making accent and dialect shifts. In addition to the process of enhancing and enriching my own practice as a voice and dialect coach, this research aims to contribute to understandings of accent and dialect training and the diversity of the needs from the perspective of Western Australian actors.
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Yu, Wing-chi Gigi. "The effect of practice distribution on the training of laryngeal muscle relaxation." Click to view the E-thesis via HKU Scholors Hub, 2005. http://lookup.lib.hku.hk/lookup/bib/B3827940X.
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Thesis (B.Sc)--University of Hong Kong, 2005.<br>"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2005." Also available in print.
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Xavier, Carla Marques de Sousa. "Influência da hidratação sistêmica na voz de coristas sem e com o aquecimento vocal." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/25/25143/tde-23042014-103409/.
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Introdução: a água é componente vital para o desempenho das funções corporais e fundamental para a produção vocal. Sabe-se ainda que exercícios de aquecimento vocal preparam a voz para o canto. O propósito deste estudo foi investigar a influência da hidratação sistêmica na voz de coristas sem e com aquecimento vocal. Material e métodos: esta pesquisa teve a aprovação do CEP-FOB/USP, protocolo: 085/2011. Participaram 16 coristas, com média de idade de 49,38 anos, DP 14,74, sendo 12 do sexo feminino (75%) e quatro do sexo masculino (25%). Todos os coristas eram integrantes de coros há no mínimo um ano, saudáveis, sem queixas vocais e auditivas nos dias das avaliações e sem histórico de cirurgias laríngeas. Procedimentos: os participantes tiveram suas vozes avaliadas em dois dias não consecutivos, o primeiro na condição desidratado (D) e o segundo na condição hidratado (H). Em ambos os dias tiveram suas vozes gravadas antes (D1 e H1) e após a realização do aquecimento vocal (D2 e H2). Para a condição desidratado os coristas ficaram sem ingerir água durante as 12 horas que antecederam a primeira avaliação. Para a condição de hidratado houve a ingestão fracionada de três litros de água para os homens e dois litros para as mulheres no dia anterior ao dia da segunda avaliação. As condições hidratado e desidratado foram avaliadas por meio da coloração e gravidade específica da urina. Foi realizada a avaliação acústica dos parâmetros F0, jitter, shimmer e NHR, por meio do Multi Dimensional Voice Program (MDVP). A análise perceptivo-auditiva considerou o grau geral, a rugosidade, a soprosidade, a tensão, o pitch e o loudness da vogal /a/ sustentada por meio da escala visual analógica (EVA). As vozes foram analisadas pela fonoaudióloga que apresentou melhor análise intra-juiz (p=0,000 e r=0,77). Resultados: houve forte correlação entre os métodos da coloração e a gravidade específica da urina (r=0,807 e p<0,05). Na avaliação acústica houve redução da F0 e melhora do shimmer e na avaliação perceptivo-auditiva foi identificada melhora dos parâmetros da rugosidade, soprosidade, tensão e redução do pitch, nas vozes hidratadas sem aquecimento vocal. Nas vozes com aquecimento vocal a avaliação acústica revelou estabilidade da F0 e melhora do shimmer e na perceptivo-auditiva redução da rugosidade e do pitch. Conclusão: a hidratação sistêmica agiu positivamente na voz sem aquecimento vocal revelando na avaliação acústica redução da F0 e melhora do shimmer e na avaliação perceptivo-auditiva melhora dos parâmetros da rugosidade, soprosidade, tensão e redução do pitch. A hidratação sistêmica agiu positivamente na voz com aquecimento vocal revelando na avaliação acústica estabilidade da F0 e melhora do shimmer e na perceptivo-auditiva redução da rugosidade e do pitch.<br>Introduction: Water is a vital component for bodily functions and is fundamental for voice production. It is known that vocal warming exercises prepare the voice for singing. The purpose of this study was to investigate the influence of systemic hydration on choristers voices whilst warmed and unwarmed. Material and Methods: This research had the approval from CEP-FOB/USP protocol 085 2011. 16 choristers took part on the research, whose average age is 49.38 years (standard deviation 14,74), being 12 female (75%) and 4 male (25%). All choristers are healthy, do not present complaint on vocal or hearing issues during test days and do not possess history of laryngeal surgery. Procedure: the participants had their voices evaluated in two non-consecutive days, with hydrated voice (H) on the first day and with dehydrated voice (D) on the second. In both days, their voices were recorded before vocal warming (D1 and H1) and after vocal warming (D2 and H2.) For the dehydration condition, the choristers drank no water during the 12 preceding hours relative to the first test. For the hydration condition, fractioned water intake(3 liters for men and 2 liters for women) was held on the day before the second test. Hydrated and dehydrated conditions were determined by means of urine coloration and specific gravity. The acoustic evaluation was performed focusing in parameters F0, jitter, shimmer and NHR using the multidimensional voice program. The perceptual-auditory analysis considered the overall degree, rugosity, breathiness, tension, pitch and loudness of the sustained vowel a by visual analog scale. The voices were analyzed by the speech therapist who presented best intra-judge analysis (P = 0.000, R = 0.77). Results: The urine coloration and specific gravity have held strong correlation, with R = 0.807 and P < 0.05. On the acoustic evaluation, there has been reduction of F0 and shimmer improvement; and in the perceptive-auditory evaluation it was identified improvement on rugosity, breathiness, tension and reduction of pitch on hydrated unwarmed voices. On warmed voices, the acoustic evaluation revealed stability on F0 and improvement on shimmer; on the perceptive-auditory evaluation, rugosity and pitch have reduced. Conclusion: The systemic hydration acted positively on unwarmed voice revealing F0 reduction and shimmer improvement on the acoustic evaluation; and improvement on rugosity, breathiness, tension and pitch on the perceptive-auditory evaluation. Also, systemic hydration acted positively on the warmed voice, revealing F0 stability and shimmer improvement on the acoustic evaluation; and rugosity and pitch reduction on the perceptive-auditory evaluation.
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Law, Tsz-ying. "Effect of feedback on the effectiveness of a paired comparison perceptual voice rating training program." Click to view the E-thesis via HKU Scholars Hub, 2007. http://lookup.lib.hku.hk/lookup/bib/B42005589.
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Thesis (B.Sc)--University of Hong Kong, 2007.<br>"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2007." Includes bibliographical references (p. 25-27). Also available in print.
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Chan, Man-kei Karen. "The effect of anchors and training on the reliability of perceptual voice evaluation." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B36207421.
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Thesis (B.Sc)--University of Hong Kong, 2000.<br>"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, May 10, 2000." Also available in print.
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Barlow, Christopher A. "Electrolaryngographically derived voice source changes of child and adolescent subjects undergoing singing training." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423757.
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Nanjundeswaran, (Guntupalli) Chaya D., Celia Bassich, and Robin Samlan. "Student Training in a University Setting Voice Clinic- How do we do it?" Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1772.
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This presentation will discuss the challenges that clinical supervisors face when trying to balance efficient graduate student training and patient welfare in university voice clinics. We will propose a model in which we seek to balance the needs of the patient, student clinician, and clinical instructor.
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Agnew, Melissa. "Big country, big voice : matching Australian actors' speech training to theatrical performance requirements." Thesis, Queensland University of Technology, 1995. https://eprints.qut.edu.au/35851/1/35851_Agnew_1995.pdf.
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This study investigates the requirements of the Australian actor's speaking voice in theatrical
performance with a view to identifying any presently existing shortcomings in that voice and proposing a means of addressing problems. From sources including case studies and fieldwork projects, data emerge about voice and speech practice in the Australian theatre.
Significant interviews with Voice experts from the Royal Shakespeare Company are included, as is a voice-oriented analysis of Louis Nowra's major plays. Implications for actor-training are detailed in the Data, Findings and Conclusion chapters. The thesis proposes that actor training programs should feature dialect in their speech courses.
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Morone, Wanessa. "Análise nasofibroscópica dos efeitos das técnicas vocais em pacientes com queixa vocal após tireoidectomia." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/5/5170/tde-19052015-152918/.
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Introdução: A terapia vocal após tireoidectomia tem como objetivo reduzir características de rugosidade, soprosidade, tensão e incoordenação pneumofonoarticulatória. A nasofibroscopia é um exame que permite analisar alterações orgânicas, neurogênicas e funcionais de laringe, assim como observar o comportamento laríngeo durante a execução de técnicas vocais. Objetivo: analisar a configuração laríngea em pacientes com queixa vocal após tireoidectomia durante a execução das técnicas terapêuticas. Método: Trata-se de um estudo transversal observacional comparativo no qual foram avaliados indivíduos adultos atendidos pelo Serviço de Cirurgia de Cabeça e Pescoço do Hospital das Clínicas da Faculdade de Medicina da USP. A amostra foi composta por 31 indivíduos do gênero feminino, entre 20 e 50 anos, dos quais 21 com queixa vocal após tireoidectomia total ou parcial e dez sem cirurgia ou tratamento prévio de doença de tireoide. A amostra foi dividida em três grupos: com mobilidade laríngea (GEmob, n=16), sem mobilidade laríngea (GEimob, n=5) e o grupo-controle (GC, n=10), todos sem terapia fonoaudiológica prévia. Foram submetidos à nasofibroscopia e instruídos a repetir duas vezes, por cinco segundos, cada uma das seguintes técnicas: vogal /a/ prolongada com mãos em gancho (AMEG), vibratório de língua (VL) e fonação com canudo (FC). As imagens do exame foram analisadas por dois juízes concomitantemente, que preencheram parte do Protocolo de Cooperação Fonoaudiológica para a Avaliação Nasofibrolaringoscópica da Mobilidade Laríngea em Doenças da Tireoide - PAN para observação da configuração laríngea. Resultados: Não houve diferença significante no grupo GEimob. Quando comparados a vogal /a/ com AMEG e FC, houve mudança no movimento ântero-posterior nos grupos GEmob e controle. Conclusão: As técnicas FC e AMEG alteraram a configuração laríngea supraglótica em pacientes com mobilidade laríngea. A técnica AMEG promoveu maior adução de pregas vocais em pacientes com imobilidade<br>Vocal therapy after thyroidectomy aims to reduce roughness, breathiness, strain and pneumophonoarticulatory incoordination. Nasofibroscopy is a test that permits the analysis of organic, neurogenic and functional larynx alterations, as well as the observation of laryngeal behavior during the execution of vocal techniques. The aim of this study was to analyze laryngeal configuration in patients with vocal complaint after thyroidectomy during the performance of therapeutic techniques. A transversal observational comparative study in which adults were seen by the Hospital das Clínicas Head and Neck Service, São Paulo University Medical School. The sample was composed of 31 people of the female gender, aged between 20 and 50 years old, 21 with vocal complaint after total or partial thyroidectomy, and 10 with no surgery or previous treatment for a thyroid disease. The sample was divided into three groups: with laryngeal mobility (mobSG, n=16), with no laryngeal mobility (immobSG, n=5) and the control group (CG, n=10), all with no previous phonoaudiological therapy. Groups were submitted to nasofibroscopy and instructed to repeat twice, for 5 seconds, each of the following techniques: prolonged /a/ vowel with hooked hands (AMEG), tongue trill (TT) and straw phonation (SP). The images of the test were analyzed by two judges simultaneously, who filled in part of the Phonoaudiological Cooperation Protocol for Nasofibrolaryngoscopic Assessment of laryngeal mobility in Thyroid Diseases - PAN for the observation of laryngeal configuration. There was no significant difference in the immob SG group. When the /a/ vowel was compared with AMEG and SP, there was some change in anteroposterior movement in groups SGmob and control. Conclusion: SP and AMEG techniques alter supraglottic laryngeal configuration in patients with laryngeal mobility. The AMEG technique allows for more adduction of the vocal folds in patients with immobility
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Silva, Daniel Pestana da. "Proposta de periodização do treinamento vocal com técnica de vibração sonorizada de língua." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/25/25143/tde-08082016-083746/.
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O treinamento físico é um processo repetitivo e sistemático composto de exercícios físicos progressivos que tem por objetivo aperfeiçoar o desempenho. Um dos princípios da fisiologia do exercício é a sobrecarga que se baseia em desenvolver o treinamento com treinos intervalados, aumento de intensidade e de volume. O objetivo deste estudo foi avaliar o efeito da Proposta de Periodização do Treinamento Vocal (PPTV) com técnica de vibração sonorizada de língua na qualidade vocal de mulheres sem queixas vocais e com vozes saudáveis. Estudo prospectivo, controlado e randomizado, desenvolvido após aprovação do Comitê de Ética em Pesquisa com Seres Humanos da FOB/USP (parecer 1.198.625). Participaram do estudo 30 mulheres entre 18 e 39 anos, vocalmente saudáveis (evidenciadas por protocolo de sintomas vocais/laríngeos, avaliação vocal e laringológica inicial), divididas em dois grupos de forma randomizada: grupo experimental (GE) com 15 mulheres que receberam seis sessões da PPTV; grupo controle (GC) com 15 mulheres que receberam seis sessões de treinamento vocal tradicional. Após assinatura do termo de consentimento livre e esclarecido, as voluntárias passaram pelas avaliações antes e após treinamento e, após 30 dias do treinamento. As avaliações realizadas foram: investigação das sensações na voz, laringe, respiração e articulação (sessão a sessão); mensuração da intensidade vocal habitual; mensuração das medidas fonatórias; gravação vocal para posterior análise perceptivo-auditiva e acústica da voz. Para ambos os grupos o treinamento consistiu de 12 minutos de execução da técnica de vibração sonorizada de língua (TVSL), em pitch habitual. O treinamento vocal do GE (PPTV) considerou o princípio da sobrecarga, com administração da intensidade vocal e com intervalos controlados de execução da TVSL (30 segundos) e repouso (30 segundos). As voluntárias do GC executaram a TVSL de forma tradicional, com período de descanso a cada três minutos, mas sem controle do tempo de repouso. Os testes estatísticos (nível de significância de 0,05) revelaram que as sensações após o treino, controladas sessão a sessão, foram positivas para ambos os grupos (Teste de Sinais). As sensações positivas na voz e na articulação foram as mais relatadas por ambos os grupos. O teste ANOVA, seguido de Tukey revelou que o GE apresentou aumento significante da intensidade vocal habitual após a PPTV e 30 dias após na emissão da vogal /a/, o que não ocorreu com o GC; não houve diferença significante nas medidas fonatórias após o treino vocal em ambos os grupos. A análise perceptivo-auditiva (teste de Sinais) revelou que o parâmetro de instabilidade melhorou significantemente no GE após a PPTV e 30 dias após, o que não ocorreu com o GC. Por outro lado, o GC apresentou piora significante 30 dias após o treinamento vocal tradicional do parâmetro tensão. Por meio do teste ANOVA e Tukey, a análise acústica revelou melhora significante nos valores de jitter e variação da frequência (Vf0) no GE, 30 dias após, o que não ocorreu com o GC. Entretanto, o GC apresentou melhora significante do índice de fonação suave após o treino vocal tradicional, mas que não se sustentou 30 dias após. Este estudo permitiu concluir que a PPTV, com uso da TVSL foi capaz de produzir efeitos na qualidade vocal, com melhora da instabilidade vocal, intensidade vocal habitual e medidas acústicas (Vf0 e jitter) quando comparados ao treinamento vocal tradicional, em mulheres vocalmente saudáveis. O treinamento vocal proposto não influenciou negativamente nos relatos de sensações na voz, laringe, respiração e articulação. Conclui-se que o treino com o princípio da sobrecarga, com intensidade e intervalo controlados, levou à adaptação do sistema vocal, em relação à instabilidade. Portanto, os achados deste estudo tornam necessária a reflexão sobre a prática e execução das técnicas e treinamentos vocais tradicionais, ressaltando a importância dos princípios da fisiologia do exercício nas práticas fonoaudiológicas na clínica vocal.<br>Physical training is a repetitive and systematic process composed of physical progressive exercises which aims to improve the performance. One of the principles of exercise physiology is the overload that is based on develop the training with interval training. The aim of this study was to evaluate the effect of Proposal of Periodization of the Vocal Training (PPVT) with sonorous tongue vibration technique in the vocal quality of women without vocal complaints and healthy voices. Prospective, controlled and randomized study, developed after approval by Human Research Ethics Committees (HRECs) from FOB/USP (purport 1.198.625).The study included 30 women aged 18 to 39, vocally healthy (evidenced through protocol of symptoms vocal/laryngeal, vocal assessment and initial laryngological), divided into two groups randomly: experimental group (EG) with 15 women who received six sessions of PPVT; control group (CG) with 15 women who received six sessions of traditional vocal training. After signing of the informed consent, the volunteers through the evaluations before and after training and, after 30 days of training. The assessments performed were: research of the sensations in the voice, larynx, breathing and articulation (session to session); measurement of the usual vocal intensity; measurement of phonatory measures; vocal recording for later analysis-perceptive-auditory and acoustics of the voice. For both groups the training consisted of 12 minutes of execution of sonorous tongue vibration technique (STVT) in usual pitch. Vocal training from EG (PPVT) considered the principle of overload, with administration of vocal intensity and controlled execution intervals STVT (30 seconds) and rest (30 seconds). The volunteers of the CG performed the STVT in a traditional way, with rest period every three minutes, but without the rest time control. The statistical tests (significance level of 0.05) showed that the sensations after training, controlled session to session were positive for both groups (signal Test). The positive sensations in the voice and articulation were the most reported by both groups. The test ANOVA, followed by Tukey revealed that the EG presented significant increase of usual vocal intensity after PPVT 30 days after the issuance of the vowel /a/, which did not occur with the CG; There was no significant difference in the phonatory measures after the vocal training in both groups. Perceptive-auditory analysis (Signal test) revealed that the instability parameter has improved significantly in the EG after the PPVT and 30 days after, which did not occur with the GC. On the other hand, the GC presented significant worsening 30 days after the traditional vocal training of tension parameter. Through ANOVA and Tukey test, acoustic analysis revealed significant improvement in jitter values and frequency variation (Vf0) in EG, 30 days after, what did not happened with the CG. Though, the CG presented significant improvement of the soft phonation index after the traditional vocal training, but it did not hold 30 days after.This study made it possible to conclude that the PPVT, with the use of the STVT was able to produce effects on vocal quality, with improved vocal instability, usual vocal intensity and acoustic measures (Vf0 and jitter) when compared to the traditional vocal training, women healthy vocally. The proposed vocal training did not influence negatively in the accounts of sensations in the voice, larynx, breathing and articulation. It is concluded that the training with the principle of overload, with intensity and controlled interval, led to the adaptation of the vocal system in relation to the instability. Therefore, the findings of this study make it necessary the reflection on the practice and implementation of techniques and traditional vocal training, emphasizing the importance of the principles of exercise physiology in the speech therapy practices at the clinic.
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Masson, Maria Lúcia Vaz. "Aula, repouso, aquecimento e desaquecimento vocal em professores de uma escola pública de ensino médio de Salvador - BA /." Marília : [s.n.], 2009. http://hdl.handle.net/11449/102209.
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Orientador: Maria de Lourdes Morales Horiguela<br>Banca: Léslie Piccolotto Ferreira<br>Banca: Maria Suzana Behlau<br>Banca: Eliana Maria Gradim Fabron<br>Banca: Simone Aparecida Capellini<br>Resumo: Justificativa: professores compõem uma categoria profissional que tem a voz como um dos cruciais instrumentos de trabalho. Fatores de risco os expõem a alterações vocais que podem prejudicar o exercício profissional. Dentre os aspectos considerados no cuidado com a voz, o aquecimento e o desaquecimento vocal possibilitam a preparação da voz para o uso em sala de aula. Objetivo: analisar os efeitos da aula, do repouso e de um procedimento de aquecimento e desaquecimento vocal na qualidade da voz e no grau de desconforto auto-referido. Métodos: Dezoito professores de uma escola pública estadual do município de Salvador-BA, selecionada por conveniência, compuseram a amostra deste estudo. Dividiram-se as amostras entre grupos experimental (n=8) e controle (n=10) e analisaram-se os efeitos da aula e repouso (grupo controle), aquecimento e desaquecimento vocal (grupo experimental), considerando-se a avaliação de juízes por meio da escala GRBASI e ressonância, análise acústica e grau de desconforto auto-referido. O material analisado foi submetido a tratamento estatístico, sendo considerado nível de significância de 5%. Resultados: A aula provocou elevação estatisticamente significante da freqüência fundamental e aumento do grau de desconforto auto-referido. Não houve diferença significante nas variáveis analisadas para o repouso vocal. O aquecimento vocal proporcionou redução do grau geral de alteração vocal e diminuição do desconforto, especialmente nos aspectos relacionados ao corpo. O desaquecimento vocal proporcionou diminuição da freqüência fundamental e redução do grau de desconforto, especialmente relacionado à voz. A comparação entre os grupos experimental e controle não demonstrou diferença estatisticamente significante em nenhuma variável analisada. Tanto o desaquecimento quanto o repouso vocal proporcionaram o retorno da voz ao ajuste coloquial ...(Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract:Justification: Voice is a main work tool for teachers and they are exposed to risk factors able to cause voice disorders. Vocal warm-up and cool-down procedures are used as preparation for the use of voice in classrooms. Goal: to analyze the effects of vocal warm-up and cool-down procedure, rest and lecture on voice quality, as well as on the degree of self-reported discomfort. Methods: the subjects of this research were 18 teachers of a state school in Salvador/BA, which were selected by convenience. They were divided in two groups, one experimental (n=8) and the control (n=10). Then they were subject to an analysis of the effects of lecture and rest (control group), vocal warmup and cool-down procedures (experimental group). The criteria for comparison between the voices were evaluation by judges, considering the GRBASI scale and resonance, analysis of acoustic parameters and the degree of self-related discomfort. The significance level for the statistical treatment was 5%. Results: lecture resulted in statistically relevant increase of the fundamental frequency and rising of self-related discomfort. Rest did not result on statistically significant difference on the variables. Vocal warm-up resulted on decreasing in degree of vocal alteration and discomfort, especially on body related aspects. Vocal cool-down resulted on decreasing the fundamental frequency and the degree of discomfort, especially on voice related aspects. Comparison between experimental and control groups did not show any statistical difference on the analyzed variables. Cool-down and rest showed equally positive on adjusting back to the colloquial voice. Conclusion: lecture has raised the vocal attrition, indicating the vocal loading to which teachers are exposed. The proposed procedure showed to be positive and able to be applied preventively. New studies, with a larger number of subjects, should take place, ...(Complete abstract click electronic address below)<br>Doutor
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Gibson, Marcia Rose. "A feasibility study on the use of a voice recognition system for training delivery." Diss., This resource online, 1990. http://scholar.lib.vt.edu/theses/available/etd-08252008-162853/.
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Christine, Carol Jean Maytag. "Knowledge of children through the eyes and voice of one teacher." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282353.
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This case study investigates how one primary teacher of a multi-age classroom describes the knowledge she has of children and how they learn. The study presents the perspective that the research literature on teacher knowledge rarely includes knowledge of children. Recent investigations into teacher knowledge consider what the substance of teacher knowledge is; this study proposes that what teachers know about children must be included in future research. Researchers within the academic community have determined the direction of the research on teacher knowledge, but studies published in the 1990s suggest that teachers need to be more involved in these studies. Through my research, I learned that knowledge of children and how they learn structured one teacher's classroom. What she knew influenced her relationship with the children, and this knowledge also determined how she taught. Time and talk were the major factors which made this knowledge accessible. Attention to teachers' roles in generating descriptions of knowledge will provide a place for knowledge of children in teacher knowledge research literature, and it might also serve to bridge the gap between researchers and teachers.
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Nalesso, Karine Sandalo 1978. "Efeito terapêutico do uso exclusivo do tubo de ressonância flexível na região glótica e no trato vocal supraglótico." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/310470.
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Orientadores: Lúcia Figueiredo Mourão, Helenice Yemi Nakamura<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Ciências Médicas<br>Made available in DSpace on 2018-08-27T08:32:37Z (GMT). No. of bitstreams: 1
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Previous issue date: 2015<br>Resumo: Disfonias funcionais são alterações de voz decorrentes do comportamento vocal e o uso impróprio da voz torna-se o principal desencadeador das disfonias. O tubo de ressonância flexível, considerado integrante dos Exercícios de Trato Vocal Semiocluído, é um dos possíveis tratamentos para alterações vocais, dentre elas as disfonias funcionais, por permite uma fonação de menor impacto, com economia vocal. O objetivo do presente estudo foi analisar o efeito do uso contínuo e exclusivo do tubo de ressonância flexível nos parâmetros acústicos da região glótica e nas medidas do trato vocal supraglótico em sujeitos com disfonia funcional, pré e pós-intervenção. Participaram adultos entre 20 e 50 anos, 10 mulheres e 2 homens, em oito sessões de terapia com frequência semanal. Os seguintes parâmetros acústicos foram analisados: média da frequência fundamental, jitter, shimmer, proporção harmônico-ruído, H1-H2 e ênfase espectral. Para análise dos frames de imagem do trato vocal, obtidos por videofluoroscopia, oito medidas foram analisadas: a medida de abertura de lábio absoluta, abertura de mandíbula, ápice do dorso de língua ao palato duro, raíz da língua á faringe, comprimento horizontal e vertical do trato vocal, nível glótico, medida entre epiglote e a terceira vértebra, pré e pós-terapia. A tarefa utilizada para as gravações da análise acústica e na videofluoroscopia foi a vogal /a/. Para análise acústica, cada parâmetro foi medido em três pontos distintos da vogal e para a análise dos dados de imagem cada parâmetro foi extraído cinco vezes de cada frame para garantir a confiabilidade dos dados obtidos. A análise comparativa dos parâmetros acústicos mostrou aumento na F0 para o grupo masculino (p<0,01) e diminuição de jitter após terapia exclusiva com tubo (p=0.04). Os demais parâmetros mostraram pequenas mudanças e estão próximos aos valores padrão para sujeitos sem alteração vocal. As medidas do trato vocal mostraram aumento após a terapia, porém, sem significância estatística. As vozes dos sujeitos estudados apresentam pouca alteração nos parâmetros mesmo durante a pré-avaliação. O método estatístico LDA apontou para um alto índice de previsão dos resultados nos dois momentos estudados, considerando o conjunto de dados analisados. O efeito do uso exclusivo e contínuo do tubo flexível de látex em sujeitos com disfonia funcional parece se relacionar, neste experimento, com a melhora da estabilidade da frequência dos ciclos glóticos e com o aumento do número de ciclos glóticos por segundo. Os resultados demonstram que o efeito é mais expressivo nos homens do que nas mulheres disfônicas, porém estudos com maior número de homens são recomendados. Observou-se que os efeitos acústicos e de imagem do uso prolongado e exclusivo do tubo de ressonância flexível podem ser diferentes dos resultados em estudos imediatos. Em relação aos parâmetros acústicos analisados o jitter e a F0 mostraram melhoras dos valores obtidos no momento pós-terapia. Quanto ao trato vocal o uso do Lax Vox, sugere expansão principalmente da cavidade oral. Assim, pode-se sugerir que a intervenção terapêutica exclusiva do tubo de látex melhora globalmente a atividade glótica e a supraglótica de pacientes com disfonia funcional<br>Abstract: Functional dysphonia is a voice disorder generated by an inappropriate vocal use. One of the semioccluded vocal tract exercises, the flexible resonance tube, is one of the exercises that can be used in the management of functional dysphonia. Using the flexible resonance tube in water generates a low impact between the vocal folds during phonation and it is known to induce the concept of vocal economy. The goal of this study was to analyze acoustical parameters and vocal tract images pre and post prolonged and exclusive use of flexible resonance tube therapy in adults with functional dysphonia. Method: Participated 8 women and 2 men with functional dysphonia who received eight voice therapy sessions using exclusively flexible resonance tube. The following acoustic parameters were analyzed: fundamental frequency mean, jitter, shimmer, harmonic-to-noise ratio, H1-H2 and spectral emphasis. The vocal tract images were analyzed with eight distance measurements: the absolute lip opening measures, opening jaw, tongue back from the apex to the hard palate, the tongue will pharynx root, horizontal and vertical length of the vocal tract, glottal level measured between the epiglottis and the third vertebra, were taken from the images recorded before and after voice therapy. The task used for the analysis was a sustained /a/ vowel and measurements were taken from three distinct points of the vowel. Voice recordings were taken for pre (at the first session) and post-test (at the end of the eighth session) purpose. Paired t-test (p <0.05) was used to compare the means of the parameters pre and post-treatment. A comparative analysis of the acoustic parameters showed increase in F0 for the male group (p <0.001). Jitter decreased after the vocal therapy process (p = 0.04). The other parameters presented results close to the typical range for subjects without voice disorders. The statistics method Linear Discriminant Analysis (LDA) showed a high level of prediction in characterizing the two studied moments. The effect of exclusive and prolonged use of the flexible resonance tube in subjects with functional dysphonia seems to be related, with improved stability of the frequency of glottal cycles and increased number of glottic cycle per second (higher F0). The results demonstrated a more significant effect on the men than women, but further studies with a larger number of men in the subject group are recommended. The effect of prolonged and exclusive use of flexible tube in patients with functional dysphonia seems to be related to the stabilization of glottal cycles of vocal fold vibration and the LDA results revealed that the use of Lax Vox can provide a global improvement, considering the acoustic and image parameters<br>Mestrado<br>Interdisciplinaridade e Reabilitação<br>Mestra em Saúde, Interdisciplinaridade e Reabilitação
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Masson, Maria Lúcia Vaz [UNESP]. "Aula, repouso, aquecimento e desaquecimento vocal em professores de uma escola pública de ensino médio de Salvador - BA." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/102209.
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Made available in DSpace on 2014-06-11T19:31:44Z (GMT). No. of bitstreams: 0
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masson_mlv_dr_mar.pdf: 892378 bytes, checksum: ab195f0a93b5bb84375fb6b2ea0e5a25 (MD5)<br>Justificativa: professores compõem uma categoria profissional que tem a voz como um dos cruciais instrumentos de trabalho. Fatores de risco os expõem a alterações vocais que podem prejudicar o exercício profissional. Dentre os aspectos considerados no cuidado com a voz, o aquecimento e o desaquecimento vocal possibilitam a preparação da voz para o uso em sala de aula. Objetivo: analisar os efeitos da aula, do repouso e de um procedimento de aquecimento e desaquecimento vocal na qualidade da voz e no grau de desconforto auto-referido. Métodos: Dezoito professores de uma escola pública estadual do município de Salvador-BA, selecionada por conveniência, compuseram a amostra deste estudo. Dividiram-se as amostras entre grupos experimental (n=8) e controle (n=10) e analisaram-se os efeitos da aula e repouso (grupo controle), aquecimento e desaquecimento vocal (grupo experimental), considerando-se a avaliação de juízes por meio da escala GRBASI e ressonância, análise acústica e grau de desconforto auto-referido. O material analisado foi submetido a tratamento estatístico, sendo considerado nível de significância de 5%. Resultados: A aula provocou elevação estatisticamente significante da freqüência fundamental e aumento do grau de desconforto auto-referido. Não houve diferença significante nas variáveis analisadas para o repouso vocal. O aquecimento vocal proporcionou redução do grau geral de alteração vocal e diminuição do desconforto, especialmente nos aspectos relacionados ao corpo. O desaquecimento vocal proporcionou diminuição da freqüência fundamental e redução do grau de desconforto, especialmente relacionado à voz. A comparação entre os grupos experimental e controle não demonstrou diferença estatisticamente significante em nenhuma variável analisada. Tanto o desaquecimento quanto o repouso vocal proporcionaram o retorno da voz ao ajuste coloquial...<br>Justification: Voice is a main work tool for teachers and they are exposed to risk factors able to cause voice disorders. Vocal warm-up and cool-down procedures are used as preparation for the use of voice in classrooms. Goal: to analyze the effects of vocal warm-up and cool-down procedure, rest and lecture on voice quality, as well as on the degree of self-reported discomfort. Methods: the subjects of this research were 18 teachers of a state school in Salvador/BA, which were selected by convenience. They were divided in two groups, one experimental (n=8) and the control (n=10). Then they were subject to an analysis of the effects of lecture and rest (control group), vocal warmup and cool-down procedures (experimental group). The criteria for comparison between the voices were evaluation by judges, considering the GRBASI scale and resonance, analysis of acoustic parameters and the degree of self-related discomfort. The significance level for the statistical treatment was 5%. Results: lecture resulted in statistically relevant increase of the fundamental frequency and rising of self-related discomfort. Rest did not result on statistically significant difference on the variables. Vocal warm-up resulted on decreasing in degree of vocal alteration and discomfort, especially on body related aspects. Vocal cool-down resulted on decreasing the fundamental frequency and the degree of discomfort, especially on voice related aspects. Comparison between experimental and control groups did not show any statistical difference on the analyzed variables. Cool-down and rest showed equally positive on adjusting back to the colloquial voice. Conclusion: lecture has raised the vocal attrition, indicating the vocal loading to which teachers are exposed. The proposed procedure showed to be positive and able to be applied preventively. New studies, with a larger number of subjects, should take place, ...(Complete abstract click electronic address below)
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Goodpaster, Caroline C. "Training Auditory-Perceptual and Laryngeal Videostroboscopic Ratings: Effects on Rater Confidence." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1587740108497222.
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Weber, Bryce Matthew. "Training the communicative recitalist: exercises inspired by Sanford Meisner's repetition exercise." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3550.
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Original exercises based on the work of Sanford Meisner (as well as Viola Spolin, Jeffrey Agrell and others) are presented in a hypothetical voice studio to address truthfulness, point of view, and "reality of doing" on the vocal recital stage. The exercises present a way of addressing work on the "self" before work on the "role."
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Buterbaugh, Walz Ivy. "Training the 21st Century Voice Teacher: An Overview and Curriculum Survey of the Undergraduate Experience." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1394725201.
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Schnackenberg, Joachim Kurt. "Experience focused counselling with voice hearers in training and practice : effectiveness, clinical and social implications." Thesis, University of the West of Scotland, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.768497.
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Glickstein, Barbara H. "Using a voice synthesizer to increase reading comprehension levels of learning disabled adults:implications for training." Thesis, Virginia Tech, 1990. http://hdl.handle.net/10919/42912.
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</p>
<p>Research efforts to determine the needs of special
populations has increased in the field of human factors.
The majority of these efforts are focused on the
physically disabled. Little attention has been paid to
the learning disabled, and specifically, the learning
disabled adult. A single factor between subject design
was utilized to evaluate the effectiveness of using a
voice synthesizer to increase reading comprehension
levels of learning disabled adults. The independent
variable was presentation mode. The Passage
Comprehension subtest of the Woodcock Reading Mastery
Tests-Revised was presented via the computer. Subjects
were required to complete the test under one of two
conditions:</p>
<p>
with voice feedback or without voice feedback.
Dependent measures included total correct answers and
reaction time. Also, using a seven-point Likert scale,
subjective data regarding various aspects of the voice
synthesizer was collected. The Passage Comprehension
subtest of the Woodcock-Johnson Psycho-Educational
Battery-Revised was also administered to each subject by
the experimenter. Comparisons of total scores were then
made between the different administration formats.
Analysis of the data was conducted using ANOVAs and
t-tests. Results indicated no significant differences.
Such results were attributed to the small sample size,
the subject's potential familiarity with the type of test
administered, and compensation skills already developed
and maintained
by the learning disabled subject. It was
concluded that additional research was needed in order to
understand the effects of using a voice synthesizer to
increase reading comprehension levels and in adapting
training programs in industry for the learning disabled.</p><br>Master of Science
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Dunbar-Wells, Roslyn. "The relevance of metaphor in voice teaching : a comparative study of sinus tone production and vocal cord theories." Thesis, University of Reading, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388398.
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Glickstein, Barbara H. "Using a voice synthesizer to increase reading comprehension levels of learning disabled adults : implications for training /." This resource online, 1990. http://scholar.lib.vt.edu/theses/available/etd-06082009-171032/.
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Hall, Valerie Joyce. "Observations : a vehicle for enabling learner voice and developing expert learners." Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/1943/.
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When we watch an expert perform, how does that inform our own knowledge and skills in that subject, or establish what our potential might be to become a ‘better’ learner? There is much policy and rhetoric around the development of this ‘expert’ learner through ‘Learner Voice’ initiatives, yet this is a sparsely researched area. Mainly anecdotal, with poorly documented methodology, it is also heavily biased towards compulsory-aged education. This study, set within Further Education, adds to knowledge by providing evidence of how learners can improve the quality of teaching, and their own learning, through direct involvement in reflection and discussion with teachers. It also considers the implications of this for those involved: learners, teachers, the organisation and wider policy. Using an action-research model, and observations, eight volunteer participants from a teacher training curriculum area engaged with this study: two ‘learners’, each paired with a different ‘teacher’ for the observation; three teaching staff who were ‘observed’; and the curriculum area manager. Interviews were conducted throughout the research, with main participants interviewed up to three times to draw out their phenomenological interpretations and reflections. Working within a community of learning, with multiple points of interaction and ‘layers’, two theoretical frameworks were used in analysing the interviews: communities of practice and ecological learning systems. Finding them insufficient in isolation, to improve the data analysis, and the nuances of these layers – ‘micro’, ‘meso’, ‘exo’ and ‘macro’ – a ‘continuum of practice’ was devised to combine these frameworks. Additional theoretical concepts – self-efficacy, self-esteem, self-concept and self-categorization theories – were also used to interpret evidence of an individual’s sense of identity and their perceived trajectory. Evidence suggests interactions within observation partnerships, including those observed, were influenced by the theoretical framework embedded within that interaction: an appropriate framework approach can enhance the quality of outcome from these collaborations.
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Pinkerton, A. Louise. "The influence of motor production experience on voice perception." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/5825.
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Perceptual speech and voice analysis is an essential skill for all speech-language pathologists, but it is a difficult skill to teach. Even the reliability for experienced experts is variable. Some training literature and practices in speech-language pathology suggest that imitating pathological voices may be useful for developing perceptual judgment. Evidence from other fields suggests that motor experience influences perception. Until now the link between production and perception of voice quality has not been addressed. The purpose of this pilot study is to test the hypothesis that imitating pathological voice samples would improve the perceptual discrimination abilities of naïve, inexperienced listeners.
Three expert listeners rated 25 voice samples using a perceptual voice evaluation scale, the Grade, Instability, Roughness, Breathiness, Asthenia, Strain Scale (GIRBAS) (Dejonckere et al., 1996), and identified anchor samples for the training protocol. These expert ratings were used to develop summary expert ratings that served as a comparison for the naïve listener ratings. Two groups of naïve undergraduate listeners received training in evaluating voice quality and in administering the GIRBAS. They completed a pretest, a training session, a homework session, and a post-test. During each activity, they rated 6 voices and provided a confidence rating for their scores. The experimental group imitated the voice samples during the study, and the control group completed the training without supplemental motor experience.
It was hypothesized that both listener groups would have improved accuracy and confidence levels between the pretest and post-test, with a larger improvement for the experimental group. Data suggested that training improved naïve listener accuracy and confidence levels and that this improvement was maintained for at least seven days after the initial training. Post-test accuracy for both groups was approximately the same. Imitation did not improve the accuracy of ratings, although those subjects had higher confidence levels. The data supported previous research that found that training improved the accuracy of perceptual voice evaluations. However, the hypothesis that imitation could improve perceptual ratings was not supported by this study and bears further investigation due to the small sample size.
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Oliveira, Andréa Gomes de. ""A efetividade de um programa de treinamento vocal para operadores de telemarketing"." Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/5/5137/tde-01092005-152730/.
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O objetivo deste estudo foi avaliar, de forma comparativa e multidimensional, a efetividade de um programa de treinamento vocal baseado em exercícios. Um total de 48 operadores, selecionados randomicamente, foram alocados em um grupo intervenção (N=14), que participou do treinamento durante oito semanas e um grupo controle (N=34). De acordo com as comparações pré e pós-treinamento, o grupo intervenção apresentou redução estatisticamente significante na medida de jitter (p=0,044). Não houve mudança significante no diagrama do desvio fonatório e na avaliação perceptivo-auditiva da qualidade vocal. Os resultados sugerem que o programa de treinamento produz uma melhora na dimensão acústica mas não chega a produzir mudanças na dimensão perceptivo-auditiva das vozes de operadores<br>The purpose of this study was to evaluate by a multidimendional and comparative way, the effectiveness of a voice training program based in vocal function exercises. Forty-eight telemarketers were randomly assigned to two groups: voice training group (n=14), that underwent training over a 8-week period and a non-trainining control group (n=34). Based on pre- and post-training comparisons, voice training group presented reduction on measures of percent jitter (p=0.044). There was no significant difference on graphics of the hoarseness diagram and on perceptual analysis. These findings suggest that the voice training improve acoustic dimension but do not change perceptual dimension of telemarketers`voices
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Meadath, Brock Irvin. "Effects of Fitzmaurice Voicework® on the voice of graduate student actors." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3142.
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The vocal demands placed on actors are higher than those of the typical speaker. Actors' livelihood is predicated on their ability to consistently perform at peak levels, many times in conditions that are not optimal for vocal efficiency (e.g. theaters with poor acoustics). Further, many actors perform after spending the day at a second job to ensure they have a sufficient income to support themselves. Despite challenges, the hallmark of the strong actor is to strive for peak performance. To do so, many actors implement some form of theatre voice training.
One popular method is Fitzmaurice Voicework®. Fitzmaurice Voicework® is comprised of two phases: Destructuring and Restructuring. Destructuring is based in decreasing tension through relaxation and tremoring. Restructuring focuses on maximizing voice function with the least amount of effort needed. This study specifically looked at the effect of Fitzmaurice Voicework® training on the voice, as it has little more than anecdotal evidence to support its effect. Six graduate student actors enrolled in a theatre voice course based on Fitzmaurice Voicework® completed pre and post training measures examining the changes in maximum phonation time, average loudness and loudness range, fundamental frequency and frequency range, jitter, shimmer, and noise to harmonic ratio, and perceptual measures of vocal quality (e.g. strain, breathiness, and roughness) on the CAPE-V.
Despite no statistically significant findings due to the small sample size and noted variability between individual subjects, trends of more efficient performance post training were present for individuals without a history of voice problems.
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Subbotin, Serhii Vitaliyovich. "Usage of aviation simulator in a process of ATS officers training." Thesis, Національний авіаційний університет, 2020. http://er.nau.edu.ua/handle/NAU/41882.
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Робота публікується згідно наказу ректора від 21.01.2020 р. №008/од "Про перевірку кваліфікаційних робіт на академічний плагіат 2019-2020р.р. навчальному році" . Керівник проекту: доцент, Богуненко Микола Миколайович<br>It is well known that simulator training plays a huge role in a process of aviation personnel training. Simulator training might compete in approximately 20 percent of whole time spent on education and training of ATCO student. Pilots may spend up to 40 percent of educational time on simulator training.
Here comes the vitality of proper simulator education. It allows to gain some critical for aviation personnel skills and abilities. For ATCO simulator training is much closer to real job than even pilots flight simulator. The working place of ATCO is equipped as close to real as it possible due to technical progress. Current ATCO working place is almost fully computer-based. This means that the hardware on a workplace of CTA TMA control unit looks just like a modular or complex training simulator with an only difference – voice communication module. In a software-based device these modules are always neglected the developers. Even if such module is presented in simulators software it is usually low functional.
Anyway, talking about voice communication module is almost always referred to device-based unit as radio panel in 70 percent of cases is presented in its classic layout with knobs and buttons, while only in brand new VHF/HF radio stations are presented as a part of automated air traffic control system or as a standalone touch screen.
From all above mentioned it came clear that the necessity of standalone VHF/HF radio communication simulator for student ATCOs studying is desperately high, not only for the external layout but for the correct usage of push to talk button of manual frequency switching.
The aim of this graduate thesis is to investigate the nowadays market of ATCO simulators in order to confirm the absence or incompatibility of these modules to gain real radio skills. The second aim is to develop simple, standalone, analogue and device-based radio communication simulator in order to satisfy training center needs.
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Aguilar, Gina Maria Monge. "Princípios para o treinamento vocal do ator: vozes que chamam, perguntam e dialogam." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-05072009-235136/.
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Esta pesquisa tem como objetivo formular, descrever e compreender princípios gerais para o treinamento vocal do ator. Para chegar a estes princípios, partiu-se de experiências, tanto na Costa Rica quanto atualmente no Brasil, do contato com o trabalho de Roy Hart, por meio de Richard Armstrong, e das pesquisas feitas com sete especialistas e professores de voz brasileiros. Após revisão bibliográfica sobre o tema, foram feitas entrevistas individuais com os sete pesquisadores escolhidos, participação em aulas e treinamentos, assim como assistência a espetáculos apresentados por eles. Finalmente, a realização de um processo de treinamento-encenação completou as ferramentas para a postulação dos princípios. Eles confluem em dois pontos fundamentais: voz é energia, que pode ser transformada, por meio do treino-criativo, em poética teatral.<br>This research aims to formulate, describe and understand the general principles for the actors vocal training. In order to reach such goals, I started up from my own experiences not only in Costa Rica but also in Brazil nowadays; from the contact I had with Roy Harts work, through Richard Armstrong and through the research done with seven Brazilian voice specialists and researchers. After a bibliographic review on the theme, several interviews have been done, as well as attendance to drama performances performed by them. Finally, the achieving of a training-creation process completed the tools to postulate such principles. They converge into two fundamental points; first, voice is energy; second, it can be transformed through creativetraining in theater poetry.
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Siqueira, Larissa Thaís Donalonso. "Efetividade da estimulação elétrica nervosa transcutânea (TENS) na terapia vocal de mulheres disfônicas: ensaio clínico, controlado, randomizado e cego." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/25/25143/tde-16082016-104800/.
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Introdução: Para o tratamento das disfonias comportamentais associadas à tensão muscular são recomendadas técnicas de relaxamento cervical e laríngeo, concomitantemente à estimulação da onda de mucosa das pregas vocais, bem como adequação do fechamento glótico e suavização da emissão. Nesse sentido, o recurso da Estimulação Elétrica Nervosa Transcutânea (TENS), corrente elétrica aplicada por meio de eletrodos de superfície, tem sido utilizada no tratamento vocal de mulheres com nódulos vocais. Esta prática tem demonstrado bons resultados na qualidade vocal e na redução da dor muscular, porém, verifica-se escassez de comprovação científica dos seus efeitos somados à terapia vocal. Objetivo: verificar a efetividade da TENS de baixa frequência associada à terapia vocal no tratamento de voz em mulheres disfônicas. Método: Este estudo foi aprovado pelo Comitê de Ética em Pesquisa em Seres Humanos, número 556.273. Participaram 27 mulheres com nódulos vocais, de 18 a 45 anos de idade (média de 33 anos de idade), divididas, de forma randomizada, em: Grupo Experimental (GE) 13 mulheres que receberam 12 sessões de aplicação de TENS (pulso: 200 μs, frequência: 10 Hz, no limiar motor), com eletrodos posicionados no músculo trapézio - fibras descendentes e na região submandibular, bilateralmente, por 20 minutos, associada a 30 minutos de terapia vocal; e Grupo Controle (GC) 14 mulheres que receberam 12 sessões de aplicação de TENS placebo (mesmas condições do GE, incluindo posicionamento dos eletrodos, porém sem receber o estímulo em forma de corrente elétrica) por 20 minutos, associada a 30 minutos de terapia vocal. Todas foram submetidas à avaliação da qualidade vocal por meio das análises perceptivo-auditiva e acústica da voz; da laringe por meio de análise perceptivo-visual; autopercepção sobre a voz, qualidade de vida por meio do protocolo de Qualidade de Vida em Voz (QVV); queixas e sintomas vocais/laríngeos e dor musculoesquelética, antes, imediatamente após o tratamento e um mês após. Resultados: Observou-se, após análise estatística, que não houve modificação da qualidade vocal em ambos os grupos tratados. Verificou-se na análise acústica diminuição do parâmetro acústico Índice de Fonação Suave (SPI) imediatamente após tratamento e um mês após, em ambos os grupos. Em relação à laringe, observou-se melhora do tamanho da lesão nas pregas vocais apenas no GE, imediatamente após tratamento e um mês após.Não houve diferença significativa quanto à qualidade de vida em voz, em ambos os grupos. Houve melhora na autopercepção da voz em ambos os grupos, após o tratamento, assim como os sintomas vocais/laríngeos e de dor musculoesquelética se apresentaram em menor ocorrência após tratamento e um mês após. Conclusão: A TENS de baixa frequência associada à terapia vocal foi efetiva em relação à diminuição da lesão das pregas vocais em mulheres disfônicas. A associação da TENS com a terapia vocal produziu resultados semelhantes à terapia vocal, em relação à qualidade da voz, autopercepção e qualidade de vida em voz, sintomas vocais e dor musculoesquelética.<br>Introduction: For the treatment of the behavior dysphonia associated muscle tension are recommended techniques of cervical and laryngeal relaxation, concurrently with stimulation of the mucosa wave of the vocal folds, such as adequacy of glottal closure and smoothing the emission. Thereby, the use of Transcutaneous Electrical Nerve Stimulation (TENS), electrical current applied through surface electrodes, have been used in the vocal treatment of women with vocal nodules. This practice has shown good results in vocal quality and in reducing muscle pain, however, there are few scientific evidence about their effects added to voice therapy. Proposal: to verify the effectiveness of low frequency TENS associated with voice therapy on vocal quality and laryngeal dysphonic women. Methods: This study was approved by the Research Ethics Committee, number 556.273. Twenty seven women with vocal nodules participated, 18-45 years of age (mean 33 years), divided, randomly into: experimental group (EG) - 13 women who received 12 sessions of application TENS (pulse: 200 μs, frequency 10 Hz, motor threshold), with electrodes placed on the trapezius muscle descending fibers and submandibular area, bilaterally, for 20 minutes, associated with 30 minutes of vocal therapy; and Control Group (CG) - 14 women who received 12 sessions of application TENS placebo (same conditions as EG, including the placed of the electrodes, but without receiving the stimulus in the form of electrical current) for 20 minutes, associated with 30 minutes of vocal therapy. All were submitted to vocal quality through auditory perceptual and acoustic voice analyzes; ENT evaluation through visual perceptual analysis; vocal self-perception; voice-related quality of life through the Voice-Related Quality of Life Protocol (V-RQOL); complaints and vocal/laryngeal and musculoskeletal pain symptoms, before, immediately after treatment and one month after. Results: It was observed, after statistical analysis, that there was no change vocal quality in both treated groups. In the acoustic analysis, there was decrease of the Soft Phonation Index (SPI) parameter, immediately after treatment and one month after, in both groups. In relation to larynx, there was improvement in the size of the lesion on the vocal folds only GE, immediately after treatment and one month after. There was no significant difference in the voice related quality of life, in both groups. There was improvement in the vocal self-perception in both groups after treatment, as well as lower frequency of the voice/laryngeal and musculoskeletal pain symptoms present immediately after treatment and one month after. Conclusion: The low frequency TENS associated with vocal therapy was effective in the reduction of the size of the lesion on the vocal folds in dysphonic women. The association of the TENS with vocal therapy produced similar results to vocal therapy, in relation to vocal quality, self-perception and voice-related quality of life, vocal and musculoskeletal pain symptoms.
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Campos, Marcio Roberto. "Canto popular: aspectos da atuação de professores de canto brasileiros." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20905.
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Previous issue date: 2018-02-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>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<br>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
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Menezes, Marcia Helena Moreira. "Análise perceptivo-auditiva e acústica da voz relacionada ao tempo de execução do exercício de vibração sonorizada de língua em mulheres com nódulos vocais." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/5/5143/tde-11052010-125351/.
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A presente pesquisa teve como objetivo verificar se o tempo de execução do exercício de vibração sonorizada de língua interfere nas respostas perceptivoauditivas e acústicas da voz em mulheres com nódulos vocais. Além disso, se propôs identificar em qual momento há predomínio de respostas vocais positivas e negativas ao longo de sete minutos de execução deste exercício. Para tanto, participaram da pesquisa 27 mulheres, com idade entre 18 e 45 anos, disfônicas, com nódulos de pregas vocais. Todos os sujeitos da pesquisa foram incluídos no Grupo Experimental (GE), o qual realizou o Exercício de Vibração Sonorizada de Língua (EVSL) e apenas dez deles participaram também do Grupo-Controle (GC), onde foi feito o exercício placebo. Ambos foram realizados por sete minutos. As vozes foram registradas antes e após o primeiro, terceiro, quinto e sétimo minutos de execução dos exercícios e analisadas perceptivo- auditiva e acusticamente. Na análise perceptivo-auditiva, elas foram estudadas individualmente por meio do Protocolo CAPEV e aos pares, de forma comparativa, com a identificação da melhor voz para cada par examinado. Na análise acústica, utilizou-se o software VoxMetria versão 2.7h da CTS Informática na função Qualidade Vocal. Foram considerados os valores de frequência fundamental, jitter, shimmer, Glottal to Noise Excitation (GNE), irregularidade e ruído. De acordo com os resultados do CAPEV, o Exercício de Vibração Sonorizada de Língua (EVSL) provocou mudanças estatisticamente significantes em sete dos nove parâmetros investigados. A aplicação do teste estatístico ANOVA mostrou que no momento 5 (após o quinto minuto de execução do EVSL), a voz apresentou-se com melhor grau geral (p = 0,0004), menor rugosidade (p = 0,007), menor soprosidade (p < 0,001) e pitch agudo (p < 0,001). Porém, no momento 7 (após o sétimo minuto), a tensão apresentou-se significativamente mais alta (p = 0,016) em comparação a todos os outros momentos. Na análise pareada, houve prevalência de melhora vocal no pós-exercício em todos os momentos, com exceção do 7°. Não houve diferença estatisticamente significante entre os momentos 1 e 3. As vozes no momento 5 foram consideradas melhores do que nos momentos 3 (p = 0,013) e 7 (p = 0,013) no Grupo Experimental. Na análise acústica do grupo experimental houve aumento gradativo da frequência fundamental (p = 0,0030) e do GNE (p = 0,0011) após o terceiro minuto e diminuição do ruído (p = 0,0013) a partir do primeiro. Tanto na análise perceptivo-auditiva quanto na acústica, os resultados do Grupo Experimental foram superiores aos encontrados no Grupo-Controle no que diz respeito às melhoras vocais. Os resultados da presente pesquisa demonstram que o tempo de realização do EVSL interfere nas respostas vocais em mulheres disfônicas, sendo que no momento 5 há predomínio de respostas positivas em comparação aos momentos 1, 3 e 7. No 7, há aumento de tensão vocal e queda no desempenho do exercício.<br>The aim of this study was to assess whether tongue trills trill performance time interferes in the auditory perception and acoustic in women with vocal nodules. Furthermore, it was intended to identify at which moment during the 7-minute performance time the positive and negative responses predominate. This study comprised twenty-seven dysphonic women, who have vocal nodules, ranging from 18 to 45 years old. All subjects of this study were included in the experiment group which underwent tongue trills; only ten of these were also in the control group which underwent the placebo exercise. Both groups carried out the 7- minute performance time. The voices were recorded pre and post experimental and placebo exercises at the first, third, fifth and seventh minute of performance and auditory perception and acoustic were analyzed. In the auditory perception analysis the voices were analyzed individually according to the CAPEV protocol and in pairs, by comparison, to identify the better voice of the pair. The Voxmetria® program, version 2.7h by CTS Informática, was used to assess the vocal quality function. Fundamental frequency, jitter, shimmer, GNE, irregularity and noise were considered. According to the CAPEV results, the tongue trills caused statistically significant changes in seven out of the nine parameters analyzed. The use of the ANOVA analysis of variance showed that at moment 5 (after the fifth minute of experiment exercise) the voice presented the best overall rating, the least roughness, the least breathiness and high pitch. However, at moment 7 (after the seventh minute) the tension was significantly higher than at any other moment. In the paired comparison analysis, there was predominance of improved vocal in the post tongue trills at all moments, except the 7th. There was no statistically significant difference between moments 1 and 3. The voices at moment 5 were considered better that those at moment 3 and at moment 7 in the experiment group. In acoustic analysis of the experiment group there was gradual increase in the fundamental frequency and in the GNE after the 3rd minute and a decrease in noise as of the 1st minute. In the auditory perception analysis as well as in the acoustic analysis, the ratings for the experiment group were higher than those of the control group in relation to vocal improvement. The results of this study show the tongue trill performance time interferes in the vocal response of dysphonic women with positive response predominance at moment 5 compared to moments 1, 3 and 7. At moment 7 there is an increase of vocal tension and a drop in performance during tongue trills.
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Van, Vuuren Cora-Mari. "Exploring the diagnosis and correction of vocal faults encountered during the training of the classical singing voice." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65618.
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The aim of this study is to provide a framework to diagnose and correct vocal faults encountered in the training of the classical singing voice with regard to the foundational aspects of classical vocal technique. The study follows a qualitative research approach to investigate and interpret authoritative literature sources. The research problem of this dissertation is approached by means of a narrative literature review and is conducted within an interpretive paradigm. The investigation of the diagnosis and correction of vocal faults revealed that: Firstly, the foundational aspects of classical vocal technique include dynamic body alignment, breath management, phonation, resonation, articulation, registration and vibrato. Secondly, vocal faults are directly linked, or can be traced directly to the interdependent foundational aspects of classical vocal technique. Thirdly, vocal faults occur when sound is produced in such a way that it can cause temporary or permanent damage to the voice and occur when the foundational aspects involved in the act of singing are employed incorrectly. It is recommended that voice teachers assist singing students to understand the foundational aspects of the complex and intricate processes underlying the classical vocal technique to produce healthy vocal sound. Also, exercises that are employed to assist in the correction of vocal faults must focus on creating a healthy balance within the processes of the foundational aspects of classical vocal technique to prevent hyper- or hypo-functionality.<br>Dissertation (MMus)--University of Pretoria, 2017.<br>Music<br>MMus<br>Unrestricted
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Johnson, Brock. "The Use of Classic Musical Theatre Repertoire for Training Bel Canto Techniques in the Undergraduate Baritone Voice." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984217/.
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For applied teachers of the bel canto method of singing, classical musical theatre repertoire provides an abundant resource of material for teaching the undergraduate baritone voice. Select classic musical theatre repertoire, fitting within the parameters of suitable range, tessitura, duration, and thematic material for an undergraduate baritone, will be used to demonstrate the application of bel canto techniques such as: glottal onsets, the connection between the speaking voice and singing voice, suitable vowels in building the upper range, and teaching sostenuto and legato. This dissertation serves as a guide for teaching sound vocalism through classic musical theatre repertoire.
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Allen, Lauren Fjeldsted. "The Effects of Intensive Lower Limb Training on the Speech of Patients with Parkinson's Disease." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2971.pdf.
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Campion, Zachary. "Speech in America: Tracking the Evolution of Speech Pedagogy in Theatre Training." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3297.
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Speech work, as it relates to actor training, has undergone many important changes since its formal introduction to the field over a century ago by Edith Skinner. Unfortunately, there are many who hold on to antiquated, misinformed and often harmful approaches to this kind of training. This thesis questioned the traditional models of speech pedagogy by creating a narrative for its development, questioning its efficacy, and exploring the alternatives that have developed over the years. I looked at the texts and approaches of Edith Skinner, Patricia Fletcher, Louis Coliaini, and Dudley Knight/Phil Thompson. I acknowledge that each practitioner has made a substantial contribution to the field. In this thesis I question what place each has in the future of speech pedagogy in America. I gathered opinions from both critics and proponents of each work in the hopes of creating a more cohesive understanding of how speech pedagogy should be handled in the future according to those who will be teaching it. This thesis includes considerable usage of phonetic symbols found on the International Phonetic Alphabet establish by the International Phonetic Association.
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Walstrom, Audrey Elizabeth. "Use of Terminology and the Effect of Training on Auditory-Perceptual Ratings of Speaking Voice by Expert Teachers of Singing." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1493743516136888.
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Cox, Frances Jayne. "The notion of physicality in vocal training for the performer in South African theatre, with particular reference to the Alexander technique." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002366.
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Voice training has been influenced by separatist attitudes which have allowed for classes which train the body to be separate from those which train the voice. This study acknowledges that to train an actor in separate compartments and then expect the completeness of human expression in performance, is to train under false pretences. There is a need to address the imbalance of separatism and this is examined within the context of voice training. An holistic approach to voice training forms the basis of the argument, which focuses on the need to re-educate the notion of physicality in voice training. Chapter one proposes an understanding of the notion of physicality by drawing on the attitudes of selected theatre practitioners towards the physical nature of the theatre encounter. The expressive energies of the actor's body are responsible for the physicalisation of a play; for this reason the movement of voice and speech is not only examined as source movement, but also as the movement of an actor's response and communication. Chapter two examines some practices which led to attitudes of separatism in voice training, and introduces prevalent practices which are attempting to involve the energy of the physical experience. Chapter three proposes that the Alexander technique be used as the foundation for an awareness of individual physicality. Where chapter one examines the theory of this notion, chapter three proposes an experiential understanding of the same. The Alexander technique is a training in effective body use and it's principles are fundamental to an awareness of body use and functioning. It is argued that these principles should underlie a re-education of physicality. The final chapter of the thesis argues for physicality in South African voice training programmes which would complement the physicality of contemporary theatre forms. It is hoped that this study will provide further incentive for the continued review and adjustment of drama training in South Africa.
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Lehesvuori, Johanna. "The Light of Christmas : Developing my self-esteem through producing a Christmas album." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1900.
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In addition to the written report, my debut album The Light of Christmas is included in this Master thesis. The album was released 15th. November 2014 and it was a success. I worked as an artist and as a producer in this album project. The album consists of thirteen songs. It includes three different Ave Maria songs from Schubert, Bach-Gounod and Caccini and other Mary songs in Finnish (Kalliokoski, Reger) and in Swedish (Hahn). I also recorded traditional Finnish Christmas songs. The written report of this thesis describes the most important part of this project, the production of the CD from the beginning till the end. The artistic self-esteem is also in focus. My instrument, voice, is in me. It develops all the time. It is never the same. I needed to accept this fact and believe in my skills as a professional singer. I am a mentally stronger singer today than I was a year ago. I believe in what I am doing and I also believe in my future as a professional singer. The feedback from my album supported me as an artist and in my career.<br><p>Appendice;</p><p>Bilaga: 1 CD - The Light of Christmas</p>
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Shamgunov, Insur. "Listening to the voice of the graduate : an analysis of professional practice and training for ministry in Central Asia." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:7f86994b-af08-4acb-8d46-df864a072162.
Full textAbstract:
This thesis examines the relationship between professional practice and professional training of Christian ministers in post-Communist Central Asia. It responds to the call for study of the phenomenon of Protestant theological education in the post-Soviet bloc. Theological education in Central Asia has been developed without any research-led evaluation and is often found unsatisfactory by the emerging church, which calls for a more relevant, field-driven and contextualised training of its leaders. This study also responds to the gap in the literature on attitude development of ministerial students. This is a qualitative inquiry. Its primary emphasis is on in-depth semi-structured interviews of forty graduates of four major theological colleges in Kyrgyzstan and Kazakhstan, who had spent several years in pastoral ministry after graduation. This research seeks to identify the most common problems they face in professional practice; to identify the attitudes and capabilities underlying their problem-solving processes; and to analyse how their training enabled or failed to enable them to develop those qualities. This thesis argues that theological education can be viewed as a special case of professional training, with a unique cluster of spiritual qualities that are of paramount importance for the success of ministers. It also argues that, despite the graduates’ generally positive appraisal of their training, there was little connection between the training and the capabilities that the graduates needed to succeed in their current practice. It therefore argues that the institutions in Central Asia have inherited the flaws of the "schooling" paradigm of theological education. A more integrated, context-specific and missional model is needed. By developing a model for investigating the practical knowledge of ministers, this study attempts to provide the training institutions in question with a framework of capabilities and attitudes. This will allow those institutions to have a useful starting point in the reformulation of their curricula.