Entre improvisos e desafios: do cururu como cosmovisão de grupos caipiras do Médio Tietê, SP

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Transtorno mental comum e lazer entre estudantes da área da saúde do campus de Botucatu-UNESP: um estudo transversal

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Aquecimento vocal para o canto erudito: teoria e prática

Vocal warm-ups are essential for the technical training of the singer, for good speech and performance, as well as essential for good vocal health and a long-lasting career. Objective: To analyze the theory and practice of the vocal warm-up in classical singing, from the perspective of different professionals in the voice field including: teachers, speech therapists and singers. Method: descriptive search, quantitative in nature, cross-sectional, with a questionnaire for voice teachers, singers and audiologists. The sample consisted of 165 subjects: 86 voice teachers, 64 speech pathologists, and 15 singers. Results: Teachers of Singing (97.7 %), singers (95.3 %) and students (93.3 %) use the vocal warm-up. Conclusion: From the results we can infer that most of the professionals surveyed point to the importance of the implementation of the vocal warm-up before a performance, and the strategy used by most voice instructors, speech therapists and singers is vocalization, i.e. aesthetic warm-up.

Voice disorders in teachers: clinical, videolaryngoscopical, and vocal aspects

Dysphonia is more prevalent in teachers than among the general population. The objective of this study was to analyze clinical, vocal, and videolaryngoscopical aspects in dysphonic teachers. Ninety dysphonic teachers were inquired about their voice, comorbidities, and work conditions. They underwent vocal auditory-perceptual evaluation (maximum phonation time and GRBASI scale), acoustic voice analysis, and videolaryngoscopy. The results were compared with a control group consisting of 90 dysphonic nonteachers, of similar gender and ages, and with professional activities excluding teaching and singing. In both groups, there were 85 women and five men (age range 31-50 years). In the controls, the majority of subjects worked in domestic activities, whereas the majority of teachers worked in primary (42.8%) and secondary school (37.7%). Teachers and controls reported, respectively: vocal abuse (76.7%; 37.8%), weekly hours of work between 21 and 40 years (72.2%; 80%), under 10 years of practice (36%; 23%), absenteeism (23%; 0%), sinonasal (66%; 20%) and gastroesophageal symptoms (44%; 22%), hoarseness (82%; 78%), throat clearing (70%; 62%), and phonatory effort (72%; 52%). In both groups, there were decreased values of maximum phonation time, impairment of the G parameter in the GRBASI scale (82%), decrease of F0 and increase of the rest of acoustic parameters. Nodules and laryngopharyngeal reflux were predominant in teachers; laryngopharyngeal reflux, polyps, and sulcus vocalis predominated in the controls. Vocal symptoms, comorbidities, and absenteeism were predominant among teachers. The vocal analyses were similar in both groups. Nodules and laryngopharyngeal reflux were predominant among teachers, whereas polyps, laryngopharyngeal reflux, and sulcus were predominant among controls.

A voz do idoso: características clínicas, endoscópicas, vocais e morfológicas

Pós-graduação em Bases Gerais da Cirurgia - FMB

A voz do idoso: características clínicas, endoscópicas, vocais e morfológicas

Pós-graduação em Bases Gerais da Cirurgia - FMB

Coralistas amadores: auto-imagem, dificuldades e sintomas na voz cantada

Purpose: to evaluate vocal self-perception, difficulties and presence of negative symptoms after singing of amateur choir singers of different vocal classifications, age and experience. Method: one hundred and twenty five singers answered a questionnaire containing identification data, information about self-perception of the singing voice, difficulties with singing and negative symptoms after singing. Results: the comparison considering vocal classification evidenced greater difficulties with high notes for altos and basses, greater difficulty regarding the transition to high notes for basses and greater vocal fatigue for altos. Comparing the singers by age, both adults and young adults referred more breathiness than the elderly. The adults referred better vocal intensity than the young adults. The young adults referred better timbre than adults. Regarding the experience, the less experienced singers reported self-perception of hoarseness and presence of hoarseness after singing in greater number than the experienced singers. Conclusion: the difficulties with singing are connected to the vocal classification and do not depend on age or experience. Vocal symptoms are related to the vocal classification and to the experience with singing. Negative self-perception is also related the vocal classification and to the experience with singing, and positive self-perception was more reported by experienced singers.

Keplero e la musica. Il Libro III dell'Harmonice mundi (Linz, 1619): traduzione e Introduzione

Questo lavoro si concentra su un particolare aspetto della sfaccettata ricerca scientifica di Johannes Kepler (1571-1630), ossia quello teorico-musicale. I pensieri dell’astronomo tedesco riguardanti tale campo sono concentrati – oltre che in alcuni capitoli del Mysterium cosmographicum (1596) ed in alcune sue lettere – nel Libro III dell’Harmonices mundi libri quinque (1619), che, per la sua posizione mediana all’interno dell’opera, tra i primi due libri geometrici e gli ultimi due astronomici, e per la sua funzione di raccordo tra la «speculazione astratta» della geometria e la concretizzazione degli archetipi geometrici nel mondo fisico, assume la struttura di un vero e proprio trattato musicale sul modello di quelli rinascimentali, nel quale la «musica speculativa», dedicata alla teoria delle consonanze e alla loro deduzione geometrica precede la «musica activa», dedicata alla pratica del canto dell’uomo nelle sue differenze, generi e modi. La tesi contiene la traduzione italiana, con testo latino a fronte, del Libro III dell’Harmonice, e un’ampia introduzione che percorre le tappe fondamentali del percorso biografico e scientifico che hanno portato alla concezione di quest’opera – soffermandosi in particolare sulla formazione musicale ricevuta da Keplero, sulle pagine di argomento musicale del Mysterium e delle lettere, e sulle riflessioni filosofico-armoniche sviluppate negli anni di ricerca – e offre gli elementi fondamentali per poter comprendere l’Harmonice mundi in generale e il Libro III in particolare. A ciò si aggiunge, in Appendice, la traduzione, anch’essa con testo latino a fronte, della Sectio V, dedicata alla musica, del Liber IX dell’Almagestum novum (1651) di Giovanni Battista Riccioli (1598-1671), interessante sia dal punto di vista della recezione delle teorie di Keplero che dal punto di vista della storia delle idee musicali.

Auditory Imagery and the Poor-Pitch Singer

The vocal imitation of pitch by singing requires one to plan laryngeal movements on the basis of anticipated target pitch events. This process may rely on auditory imagery, which has been shown to activate motor planning areas. As such, we hypothesized that poor-pitch singing, although not typically associated with deficient pitch perception, may be associated with deficient auditory imagery. Participants vocally imitated simple pitch sequences by singing, discriminated pitch pairs on the basis of pitch height, and completed an auditory imagery self-report questionnaire (the Bucknell Auditory Imagery Scale). The percentage of trials participants sung in tune correlated significantly with self-reports of vividness for auditory imagery, although not with the ability to control auditory imagery. Pitch discrimination was not predicted by auditory imagery scores. The results thus support a link between auditory imagery and vocal imitation.

Golden-winged Warbler habitat model validation for northern Wisconsin and central Minnesota

Between 1966 and 2003, the Golden-winged Warbler (Vermivora chrysoptera) experienced declines of 3.4% per year in large parts of the breeding range and has been identified by Partners in Flight as one of 28 land birds requiring expedient action to prevent its continued decline. It is currently being considered for listing under the Endangered Species Act. A major step in advancing our understanding of the status and habitat preferences of Golden-winged Warbler populations in the Upper Midwest was initiated by the publication of new predictive spatially explicit Golden-winged Warbler habitat models for the northern Midwest. Here, I use original data on observed Golden-winged Warbler abundances in Wisconsin and Minnesota to compare two population models: the hierarchical spatial count (HSC) model with the Habitat Suitability Index (HSI) model. I assessed how well the field data compared to the model predictions and found that within Wisconsin, the HSC model performed slightly better than the HSI model whereas both models performed relatively equally in Minnesota. For the HSC model, I found a 10% error of commission in Wisconsin and a 24.2% error of commission for Minnesota. Similarly, the HSI model has a 23% error of commission in Minnesota; in Wisconsin due to limited areas where the HSI model predicted absences, there was incomplete data and I was unable to determine the error of commission for the HSI model. These are sites where the model predicted presences and the Golden-winged Warbler did not occur. To compare predicted abundance from the two models, a 3x3 contingency table was used. I found that when overlapped, the models do not complement one another in identifying Golden-winged Warbler presences. To calculate discrepancy between the models, the error of commission shows that the HSI model has only a 6.8% chance of correctly classifying absences in the HSC model. The HSC model has only 3.3% chance of correctly classifying absences in the HSI model. These findings highlight the importance of grasses for nesting, shrubs used for cover and foraging, and trees for song perches and foraging as key habitat characteristics for breeding territory occupancy by singing males.

"Fascinating Voids: Alexander von Humboldt and the Myth of Chimborazo"

When Alexander von Humboldt reached the village of Calpi in the Andes on 22 June 1802, he was greeted with reverence and enthusiasm. Triumphal arches adorned with cotton, cloth, and silver decorated his path. The natives performed a dance in festive dress. A singer praised the explorer's expedition, which had departed three years earlier from the Spanish port of La Coruña. Like Odysseus on the isle of the Phaeacians, the traveler listened to a local rhapsodist singing about his heroic deeds. Before his adventure ended, it had already spun a popular myth. This episode, which Humboldt recorded in his diary, occurred at a significant moment. One day later, the “Second Discoverer of America” rose to even greater fame on an excursion marking in more ways than one the climax of his enterprise. Humboldt set out to climb Chimborazo (6,310 m/20,702 ft.), the mountain then thought to be the highest in the world. He was accompanied by the French botanist Aimé Bonpland (1773–1858) and the Creole nobleman and future activist Carlos Montúfar (1780–1816), as well as native guides and assistants. They climbed to heights never reached before, setting a new record and catapulting Humboldt to fame on both continents.

Song Choices of Swiss Sathya Sai Baba Devotees

The charismatic and controversial Indian guru Sathya Sai Baba is the centre of attention and devotion for a great number of adherents from various national, religious, and ethnic backgrounds. Due to its global spread, the Sathya Sai Baba movement is an ideal case for examining displaced religious practices. Singing is a vital part of the religious practice of Sai devotees. In this article I will discuss the contents and usage of the songbook that Swiss devotees compiled. We can observe the extent to which Indian contents are carried over and how they are supplemented with Swiss songs, but also with songs perceived as being part of a universal spiritual treasury of songs (e.g. Native American, Hebrew or International Christian songs). I will suggest that the concept of de- and reterritorialization helps us to analyze the practices of this global religious community. Additionally, I will argue that the devotees’ choice of songs and their singing practices are indeed a manifestation of their claim to universalism as well as their need to be rooted locally. I will further argue that a globalized religious movement is limited in dealing with the encounter of diverse cultural contents by the strategy of reterritorialization, but beyond that creates a new and supraterritorial cultural context.

«Einige Zeit aufs Singen verwendet». Musik als Kernressource dörflicher Kultur am Beispiel des schweizerischen 18. Jahrhunderts

Dealing with popular music in premodern times historical research usually focuses on so called “Volksmusik”. But already in the 18th century researchers were disappointed to find only few traces of imaginary “traditional” music in Switzerland. They unfortunately overlooked that common people kept on with their own stubborn musical culture: Beginning with the Reformation the authorities encouraged the communities to employ schoolmasters who were able to teach music. Their goal was that everybody should be able to participate in liturgical music actively. Over generations even people with no special musical talent adopted their own repertoire of psalms plus techniques of reading music and polyphonic singing. Spontaneous choral singing evolved into a common everyday practice. The most ambitious and brightest teachers even taught instrumental lessons at home on their proper pianos and chamber organs or encouraged the villagers to build new prestigious organs in their churches. The financial burden of such instruments weighted heavily on the communities. Some of them received financial support from the government, albeit unwillingly because it was obvious to the rulers that the villages just wanted to overtop each other. Homemade music was the most important issue in the cultural life of most parishes. Rich communes spent a lot of money to win the best voices on-site for their church choirs. Belonging to an elitists’ singer association paved the way to the farmer-village’s highlevel sociability.

Computer Simulation of Crowd Dynamics and Destructive Crowd Behavior

The social processes that lead to destructive behavior in celebratory crowds can be studied through an agent-based computer simulation. Riots are an increasingly common outcome of sports celebrations, and pose the potential for harm to participants, bystanders, property, and the reputation of the groups with whom participants are associated. Rioting cannot necessarily be attributed to the negative emotions of individuals, such as anger, rage, frustration and despair. For instance, the celebratory behavior (e.g., chanting, cheering, singing) during UConn’s “Spring Weekend” and after the 2004 NCAA Championships resulted in several small fires and overturned cars. Further, not every individual in the area of a riot engages in violence, and those who do, do not do so continuously. Instead, small groups carry out the majority of violent acts in relatively short-lived episodes. Agent-based computer simulations are an ideal method for modeling complex group-level social phenomena, such as celebratory gatherings and riots, which emerge from the interaction of relatively “simple” individuals. By making simple assumptions about individuals’ decision-making and behaviors and allowing actors to affect one another, behavioral patterns emerge that cannot be predicted by the characteristics of individuals. The computer simulation developed here models celebratory riot behavior by repeatedly evaluating a single algorithm for each individual, the inputs of which are affected by the characteristics of nearby actors. Specifically, the simulation assumes that (a) actors possess 1 of 5 distinct social identities (group memberships), (b) actors will congregate with actors who possess the same identity, (c) the degree of social cohesion generated in the social context determines the stability of relationships within groups, and (d) actors’ level of aggression is affected by the aggression of other group members. Not only does this simulation provide a systematic investigation of the effects of the initial distribution of aggression, social identification, and cohesiveness on riot outcomes, but also an analytic tool others may use to investigate, visualize and predict how various individual characteristics affect emergent crowd behavior.

La muda de la voz en niños cantores y no cantores : análisis de la rotura de registros

La mayor parte de los estudios sobre la mutación vocal se ha focalizado sobre las variaciones de la frecuencia fundamental del habla en relación con la edad, el peso, la altura, el vello axilar y pubiano y el nivel de testosterona en sangre. Los maestros de canto y los vocólogos que trabajan con voces infantiles, ya sean cantadas o habladas, deberían conocer profundamente las características de la mutación vocal. Con esa finalidad, llevamos a cabo un estudio de seguimiento longitudinal de 18 niños (9 cantores y 9 no cantores) durante 18 meses. Efectuamos,además, un estudio transversal por rangos de edad a 98 niños y jóvenes. Todos los sujetos fueron examinados a través de un examen perceptual y de un examen acústico luego de un examen ORL normal. Los resultados muestran que las roturas de registro desde el falsete al modal, a través de la producción de un glissando descendente, son el signo más importante de mutación desde un punto de vista perceptual. Estas roturas son independientes del entrenamiento vocal y ocurren tanto en cantores como en no cantores de la misma manera. Las roturas de registro determinan otra serie de características como el estrechamiento del rango fonacional, las roturas de voz y el descenso excesivo de la frecuencia fundamental del habla. Las roturas de registro producidas a través de un glissando descendente son muy llamativas durante el período crítico de mutación. No aparecen en las voces infantiles ni en las voces adultas saludables, sean estas voces con o sin entrenamiento. La mutación vocal de los niños varones atraviesa los siguientes estadíos: período pre-mutacional, comienzos de mutación, período crítico y período fi nal; cada estadio evidencia sus características distintivas tanto desde el punto de vista perceptual como acústico.