Speech intelligibility with and without noise in individuals exposed to electronic music

Audiometry is the main way with which hearing is evaluated, because it is a universal and standardized test. Speech tests are difficult to standardize due to the variables involved, their performance in the presence of competitive noise is of great importance. Aim: To characterize speech intelligibility in silence and in competitive noise from individuals exposed to electronically amplified music. Material and Method: It was performed with 20 university students who presented normal hearing thresholds. The speech recognition rate (SRR) was performed after fourteen hours of sound rest after the exposure to electronically amplified music and once again after sound rest, being studied in three stages: without competitive noise, in the presence of Babble-type competitive noise, in monotic listening, in signal/ noise ratio of + 5 dB and with the signal/ noise ratio of 5 dB. Results: There was greater damage in the SRR after exposure to the music and with competitive noise, and as the signal/ noise ratio decreases, the performance of individuals in the test also decreased. Conclusion: The inclusion of competitive noise in the speech tests in the audiological routine is important, because it represents the real disadvantage experienced by individuals in daily listening.

Introducing ethnomethodological analysis to the field of music education

In recent years qualitative research methods have been adopted within in the field of music education and have received widespread acceptance. However, the theoretical framework provided by ethnomethodology (Garfinkel, 1974, in R. Turner, Ethnomethodology , Penguin, Middlesex, UK) and the tools of conversational analysis (Sacks, 1992, Lectures on Conversation , edited by Gail Jefferson, Blackwell, Oxford, UK) have, to this point, been overlooked by researchers in the field of music education. In this paper I argue that the application of ethnomethodological and conversation analytical approaches in the field of research in music education can provide fresh insights into the work of music teachers and how this work is accomplished in institutional settings. Here I demonstrate how a conversation analytical perspective drawing on an ethnomethodological framework might be used to investigate transcripts of audio-recorded interview talk. This type of analysis can illuminate aspects of members' roles in relation to, and perceptions about music education in school settings that might be overlooked in other types of analysis. A conversation analytical approach to the examination of talk-in-interaction explicates in fine-grained detail how members orient to matters at hand in the context of research settings, as well as revealing features of the cultural world of music teaching. Further application of the approach to research problems in other school settings, I argue, will inform the field of music education in ways yet to be realised.

Performing race, culture, and gender in an Indigenous Australian women's music and dance classroom

One perpetual concern among Indigenous Australian peoples is authenticity of voice. Who has the right to speak for, and to make representations about, the knowledges and cultures of Indigenous Australian peoples? Whose voice is more authentic, and what happens to these ways of knowing when they make the journey into mainstream Western academic classrooms? In this paper, I examine these questions within the politics of “doing” Indigenous Australian studies by focusing on my own experiences as a lecturer in the Aboriginal and Torres Strait Islander Studies Unit at the University of Queensland. My findings suggest that representation is a matter of problematizing positionality and, from a pedagogical standpoint, being aware of, and willing to address, the ways in which power, authority, and voice are performed and negotiated as teachers and learners of Indigenous Australian studies.

The Keening Muse: Imagination And Music In The Poetry Of Dom Moraes

Revista Lusófona de Línguas, Culturas e Tradução

Sassetti: music is part of a movie’s soul

O projecto “Principais tendências no cinema português contemporâneo” nasceu no Departamento de Cinema da ESTC, com o objectivo de desenvolver investigação especializada a partir de um núcleo formado por alunos da Licenciatura em Cinema e do Mestrado em Desenvolvimento de Projecto Cinematográfico, a que se juntaram professores-investigadores membros do CIAC e convidados. O que agora se divulga corresponde a dois anos e meio de trabalho desenvolvido pela equipa de investigação, entre Abril de 2009 e Novembro de 2011. Dada a forma que ele foi adquirindo, preferimos renomeá-lo, para efeitos de divulgação, “Novas & velhas tendências no cinema português contemporâneo”.