Técnica de canto lírico e de teatro musical: práticas de crossover

O presente trabalho tem como objectivo estudar as práticas de crossover entre as técnicas vocais que os cantores líricos e de teatro musical utilizam, assim como as técnicas vocais subjacentes às referidas práticas. Descrevem-se as técnicas vocais utilizadas no canto lírico e no teatro musical por pedagogos que fundamentam o seu trabalho com as descobertas da investigação na área da voz, e comparam-se as referidas técnicas para entender quais os pontos comuns e quais os pontos divergentes. Devido à elevada percentagem de pontos comuns às duas técnicas concluiu-se que são muito próximas entre si, o que faz sentido por serem executadas pela mesma estrutura fisiológica. Apresentam-se as entrevistas efectuadas a cantores profissionais de canto lírico e de teatro musical sobre os aspectos fundamentais das técnicas vocais que utilizam e como fazem o crossover entre as mesmas. Dos resultados dos inquéritos concluiu-se que a maioria dos cantores utiliza habitualmente práticas de crossover na sua performance. A segunda conclusão retirada dos resultados do inquérito foi que a execução das referidas práticas é intuitiva na maioria dos casos, e não conscientemente efectuada. Apresenta-se um caso de aplicação em contexto performativo das práticas de crossover: o papel do soprano na cantata cénica "Moby Dick - Aos Peixes". A utilização tecnicamente consciente das práticas de crossover permitiu estabilizar a execução vocal desde o início dos ensaios e obter posteriormente uma performance consistente mas versátil, sem fixar a execução vocal ao longo da carreira do espectáculo. Os apêndices incluem informação anatomofisiológica útil para este estudo, um resumo dos métodos de estudo científico da voz, o questionário utilizado no inquérito, as tabelas dos dados obtidos, a partitura anotada de "Aos Peixes" e o DVD do espectáculo realizado no Centro Cultural de Belém, em Lisboa. ABSTRACT: The present work aims to understand the crossover mecanisms that the classical singers and the musical theatre singers use, and the vocal techniques underlying those practices. This work describes the vocal techniques taught in the lyrical singing and in the musical theatre singing by teachers who base their pedagogy on the findings of scientific investigation of voice and singing. The techniques used in both fields are compared to understand their similarities and diferences. This process led to the conclusion that both techniques are very close, due to the high percentage of common items found, and this makes sense since both techniques are produced by the same physiologic struture: the vocal system. Professional singers from the lyrical and the musical theatre scene were interviewed to explain the basic foundations of their vocal technique and how do they do the crossover between those styles, from a technical point of view. The results of these interviews led to the conclusion that the majority of the singers performs crossover actions in their singing. The second conclusion is that for the majority of singers these crossover actions are intuitive, inspired by the music, the text or the dramatic context, and not informed by technically conscious actions. It is presented a case study of how these crossover methods were used in a staged cantata: the soprano role in "Moby Dick - Aos Peixes". The use of conscious technically informed crossover practice allowed to stabilize the vocal execution right from the beginning of rehearsals and obtain afterwards a performance which was both consistent and versatile, not fixed, during the running of the show. The appendixes include useful anatomical and physiological information, a summary of the methods of the scientific study of voice, the formulary used in the enquiry, the data tables of the field work, the annotated score of "Moby Dick - Aos Peixes" and the DVD from the play filmed at Centro Cultural de Belém, in Lisbon.

Characterization of the methanol recovery process at Prio Biocombustíveis S. A.

In a industrial environment, to know the process one is working with is crucial to ensure its good functioning. In the present work, developed at Prio Biocombustíveis S.A. facilities, using process data, collected during the present work, and historical process data, the methanol recovery process was characterized, having started with the characterization of key process streams. Based on the information retrieved from the stream characterization, Aspen Plus® process simulation software was used to replicate the process and perform a sensitivity analysis with the objective of accessing the relative importance of certain key process variables (reflux/feed ratio, reflux temperature, reboiler outlet temperature, methanol, glycerol and water feed compositions). The work proceeded with the application of a set of statistical tools, starting with the Principal Components Analysis (PCA) from which the interactions between process variables and their contribution to the process variability was studied. Next, the Design of Experiments (DoE) was used to acquire experimental data and, with it, create a model for the water amount in the distillate. However, the necessary conditions to perform this method were not met and so it was abandoned. The Multiple Linear Regression method (MLR) was then used with the available data, creating several empiric models for the water at distillate, the one with the highest fit having a R2 equal to 92.93% and AARD equal to 19.44%. Despite the AARD still being relatively high, the model is still adequate to make fast estimates of the distillate’s quality. As for fouling, its presence has been noticed many times during this work. Not being possible to directly measure the fouling, the reboiler inlet steam pressure was used as an indicator of the fouling growth and its growth variation with the amount of Used Cooking Oil incorporated in the whole process. Comparing the steam cost associated to the reboiler’s operation when fouling is low (1.5 bar of steam pressure) and when fouling is high (reboiler’s steam pressure of 3 bar), an increase of about 58% occurs when the fouling increases.