Lessons in vocal expression: Course I. Principles of thinking in the modulation of the voice,

Mode of access: Internet.

New science of elocution. The elements and principles of vocal expression in lessons, with exercises and selections systematically arranged for acquiring the art of reading and speaking.

A revised edition of the author's Science of elocution. cf. Pref.

Principles of vocal expression, being a revision of the Rhetoric of vocal expression,

Mode of access: Internet.

New science of elocution. The elements and principles of vocal expression in lessons, with exercises and selections systematically arranged for acquiring the art of reading and speaking.

A revised edition of the author's Science of elocution cf. Pref.

Bihippocampal damage with emotional dysfunction: impaired auditory recognition of fear.

A right-handed man developed a sudden transient, amnestic syndrome associated with bilateral hemorrhage of the hippocampi, probably due to Urbach-Wiethe disease. In the 3rd month, despite significant hippocampal structural damage on imaging, only a milder degree of retrograde and anterograde amnesia persisted on detailed neuropsychological examination. On systematic testing of recognition of facial and vocal expression of emotion, we found an impairment of the vocal perception of fear, but not that of other emotions, such as joy, sadness and anger. Such selective impairment of fear perception was not present in the recognition of facial expression of emotion. Thus emotional perception varies according to the different aspects of emotions and the different modality of presentation (faces versus voices). This is consistent with the idea that there may be multiple emotion systems. The study of emotional perception in this unique case of bilateral involvement of hippocampus suggests that this structure may play a critical role in the recognition of fear in vocal expression, possibly dissociated from that of other emotions and from that of fear in facial expression. In regard of recent data suggesting that the amygdala is playing a role in the recognition of fear in the auditory as well as in the visual modality this could suggest that the hippocampus may be part of the auditory pathway of fear recognition.

Efficiency of distinct data mining algorithms for classifying stress level in piglets from their vocalization

Among the challenges of pig farming in today's competitive market, there is factor of the product traceability that ensures, among many points, animal welfare. Vocalization is a valuable tool to identify situations of stress in pigs, and it can be used in welfare records for traceability. The objective of this work was to identify stress in piglets using vocalization, calling this stress on three levels: no stress, moderate stress, and acute stress. An experiment was conducted on a commercial farm in the municipality of Holambra, São Paulo State , where vocalizations of twenty piglets were recorded during the castration procedure, and separated into two groups: without anesthesia and local anesthesia with lidocaine base. For the recording of acoustic signals, a unidirectional microphone was connected to a digital recorder, in which signals were digitized at a frequency of 44,100 Hz. For evaluation of sound signals, Praat® software was used, and different data mining algorithms were applied using Weka® software. The selection of attributes improved model accuracy, and the best attribute selection was used by applying Wrapper method, while the best classification algorithms were the k-NN and Naive Bayes. According to the results, it was possible to classify the level of stress in pigs through their vocalization.

A socio friendly approach to the analysis of emotive speech

This paper describes certain findings of intonation and intensity study of emotive speech with the minimal use of signal processing algorithms. This study was based on six basic emotions and the neutral, elicited from 1660 English utterances obtained from the speech recordings of six Indian women. The correctness of the emotional content was verified through perceptual listening tests. Marked similarity was noted among pitch contours of like-worded, positive valence emotions, though no such similarity was observed among the four negative valence emotional expressions. The intensity patterns were also studied. The results of the study were validated using arbitrary television recordings for four emotions. The findings are useful to technical researchers, social psychologists and to the common man interested in the dynamics of vocal expression of emotions

O ator que canta um conto: a manipulação de parâmetros musicais na voz do ator

This research started with an investigation about the theatrical speaking. Through an empirical methodology that analyzed a practical experience of creating a play and bibliographical research, the actress/researcher investigated ways to manipulate musical parameters as tools in the creation process of the actor s voice. The actress/researcher attempted to connect theory and practice, moved by the desire to find a vocal expression in theater that unfolds as living and transforming movement. This dissertation also contains the report of pedagogical experiences, in which the actress/researcher explored strategies to teach the appropriation of musical parameters in the construction of the vocal work of the actor. Considering that speaking in theater is closer to singing than everyday speech, she concluded that the actor may compose music as a music composer does in the elaborating process of building vocal scores. Therefore, she demonstrated that it is of fundamental importance a musical training in the development of the actor.

Refinement and initial validation of a multidimensional composite scale for use in assessing acute postoperative pain in cats

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

O ator que canta um conto: a manipulação de parâmetros musicais na voz do ator

This research started with an investigation about the theatrical speaking. Through an empirical methodology that analyzed a practical experience of creating a play and bibliographical research, the actress/researcher investigated ways to manipulate musical parameters as tools in the creation process of the actor s voice. The actress/researcher attempted to connect theory and practice, moved by the desire to find a vocal expression in theater that unfolds as living and transforming movement. This dissertation also contains the report of pedagogical experiences, in which the actress/researcher explored strategies to teach the appropriation of musical parameters in the construction of the vocal work of the actor. Considering that speaking in theater is closer to singing than everyday speech, she concluded that the actor may compose music as a music composer does in the elaborating process of building vocal scores. Therefore, she demonstrated that it is of fundamental importance a musical training in the development of the actor.

O ator que canta um conto: a manipulação de parâmetros musicais na voz do ator

This research started with an investigation about the theatrical speaking. Through an empirical methodology that analyzed a practical experience of creating a play and bibliographical research, the actress/researcher investigated ways to manipulate musical parameters as tools in the creation process of the actor s voice. The actress/researcher attempted to connect theory and practice, moved by the desire to find a vocal expression in theater that unfolds as living and transforming movement. This dissertation also contains the report of pedagogical experiences, in which the actress/researcher explored strategies to teach the appropriation of musical parameters in the construction of the vocal work of the actor. Considering that speaking in theater is closer to singing than everyday speech, she concluded that the actor may compose music as a music composer does in the elaborating process of building vocal scores. Therefore, she demonstrated that it is of fundamental importance a musical training in the development of the actor.

Voir le slam - Les apports de la biomécanique meyerholdienne à l’intégration de l’expression corporelle et vocale dans le slam de poésie

Ce mémoire s’intéresse aux apports possibles de la biomécanique meyerholdienne à l’expression théâtrale et plastique du slam de poésie, l’objectif initial de la recherche consistant à bonifier et à développer l’expression tant gestuelle que vocale du poète performant son texte à slamer. Il s’agissait donc, à travers le processus de recherche-création proposé, de conduire une série de laboratoires et d’expérimentations théâtrales afin de développer Panpan!, un spectacle expérimental hybridant à la fois biomécanique et slam de poésie. Des multiples expériences nécessaires à la réalisation de ce court spectacle, j’ai dégagé une série d’outils théoriques et pratiques, que j’ai ensuite exposés en profondeur dans cet essai. En annexe, le lecteur trouvera également l’ensemble de mes outils de travail, développés au fil de ma pratique expérimentale et ayant permis tant la réalisation de Panpan! que la découverte et l’étude des principes théoriques et pratiques dont fait état ma recherche. Mots clés: poésie slamée, slam de poésie, biomécanique, Vsevolod E. Meyerhold, slam-théâtre, expression corporelle, expression vocale, partition dramaturgique, mécanique dramaturgique, musicalité, virtuosité, rythme, constructivisme russe, grotesque, cabotinage.

Collagen Type I, Collagen Type III, and Versican in Vocal Fold Lamina Propria

Objective: To analyze the distributions of collagen type I, collagen type III, and versican in the lamina propria of the human vocal fold. Design: Cross-sectional analysis of cadaveric vocal folds of adult human larynges. Setting: Academic tertiary referral center. Subjects: Larynges harvested at autopsy from 10 adult men and 10 adult women. Main Outcome Measures: Immunohistochemical reactions were performed using antihuman monoclonal antibodies to analyze the expression of collagen type I, collagen type III, and versican. Results: Collagen type I density was lower in the intermediate layer compared with the superficial and deep layers of vocal folds. Collagen type III density was lower in the intermediate layer compared with the deep layer. Versican density was lower in the superficial layer compared with the intermediate and deep layers. Versican density was lower in the lamina propria of women compared with men; this difference was noted in the superficial layer only. There was a positive correlation between collagen type III and versican densities within the lamina propria. Conclusion: Collagen type I, collagen type III, and versican are distributed differently within the lamina propria layers of the adult vocal folds.

High expression of the HMG box factor sox-13 in arterial walls during embryonic development.

Members of the Sox gene family of transcription factors are defined by the presence of an 80 amino acid homology domain, the High Mobility Group (HMG) box. Here we report the cloning and initial analysis of murine Sox-13 . The 984 amino acids Sox-13 protein contains a single HMG box, a leucine zipper motif and a glutamine-rich stretch. These characteristics are shared with another member of the Sox gene family, Sox-6. High level embryonic expression of Sox-13 occurs uniquely in the arterial walls of 13.5 days post coitum (dpc) mice and later. Low level expression was observed in the inner ear of 13.5 dpc mice and in a limited number of cells in the thymus of 16.5 dpc mice, from which Sox-13 was originally cloned. At 18.5 dpc, Sox-13 is expressed in the tracheal epithelium below the vocal cord and in the hair follicles. The Sox-13 protein binds to the consensus HMG box motif, AACAAAG, but does not transactivate transcription through a concatamer of this motif. Sox-13, like other members of the Sox family likely plays an important role in development.