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Lã, Filipa M.B.

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Lã
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Filipa M.B.
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2011 - 2019132020 - 202514
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Autor: Lã, Filipa M.B. × Fecha de inicio: 2010 ×

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Mostrando 1 - 10 de 27
  • Miniatura
    Publicación
    The Effects of Menopause on Vocal Folds’ Vibratory Characteristics of Female Professional Voice Users
    (Elsevier, 2025-05-31) Barro Fiuza, Mauro; Lã, Filipa M.B.; Coronado, Pluvio; Roberto, Magda Sofia
    Introduction Menopause has been associated with changes in the vocal folds; however, whether these changes impact on vocal folds’ oscillation and collision patterns is still unknown. Materials and Methods Phonation and collision threshold pressures (PTP and CTP, respectively) were compared between premenopausal and postmenopausal female professional voice users (FPVUs), allocated into levels 1 and 2 according to professional use of their voice (ie, singers/singing teachers and schoolteachers, respectively). Audio, electroglottographic, and intraoral pressure signals were recorded while participants performed diminuendo sequences on the syllable /pa/ at pitches A3, E4, and A4. Hormonal profiles and self-perceived voice symptoms were also assessed. Results Voice-related menopausal symptoms were self-perceived as mild in postmenopausal FPVUs. No statistically significant differences in PTP and CTP were found between professional groups for the interaction between reproductive status (ie, premenopausal and postmenopause) and professional level (ie, singers/singing teachers and schoolteachers) for any of the analyzed pitches, despite significant differences in concentrations of pituitary hormones and estradiol. No significant correlations between hormones and voice metrics could be found. Conclusions The increasing numbers of menopausal FPVUs and the great individuality in degree of severity of menopause-related voice symptoms justify further investigations, including professional voice users, especially those complaining of more severe menopause-related voice symptoms.
  • Miniatura
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    Contributions of music therapy and of prenatal singing to maternal mental health, maternal attachment, and neonatal behavior
    (Elsevier, 2025-04-10) Carvalho, E.; Justo, João Manuel Rosado De Miranda; Lã, Filipa M.B.; Queirós, A.; Panela, Ryan A.; Botelho, M.; Roberto, Magda S.
    Background Listening to music during pregnancy is associated with better neonatal behavior; however, contributions of prenatal singing to neonatal behavior are still unknown. Also, contributions of acoustic propagation of maternal humming inside the womb on fetal and neonatal behavior are still not understood. Methods Low obstetric risk pregnant women (N = 24) were sequentially allocated into three groups: 1) control group (CG) without prenatal singing; 2) music therapy group (MTG); and 3) vocal training group (VTG). Depression, Anxiety and Stress Scales (DASS) and Antenatal Maternal Attachment Scales were applied at 32 GW and also at 37 GW. DASS, Postnatal Maternal Attachment Scales, and Neonatal Behavioral Assessment Scale (NBAS) were applied between one week and one month after birth. Results For MTG: prenatal attachment was improved at 37 GW; newborns range of state was higher when compared with CG newborns; lower scores of anxiety and of stress assessed at 37 GW were associated with higher neonatal autonomic regulation; after birth, lower maternal levels of depression were associated with newborns' higher social orientation. For VTG: anxiety assessed at 37 GW associated negatively with social orientation; after birth, DASS total score associated negatively with autonomic regulation. Conclusion MTG seems to favor prenatal attachment, and neonatal range of state. Apparently prenatal singing (present at both MTG and VTG) improves the association between maternal mental health and newborns' social and self-regulatory competencies.
  • Miniatura
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    Prácticas vocales basadas en la evidencia
    (['Elsevier', 'Asociación Española de Logopedia, Foniatría y Audiología e Iberoamericana de Fonoaudiología'], 2017-09) Lã, Filipa M.B.
    Tradicionalmente la pedagogía de la voz se ha basado en un modelo de ense˜nanza-aprendizaje a partir de dominar la práctica transmitida oralmente, en la que se aplicaba untipo de aprendizaje observacional centrado en el producto artístico final. Este modelo se ha idosustituyendo constantemente con el tiempo. Actualmente, la organización social del trabajoen las economías globalizadas ha visto la necesidad de replantear la educación de forma quelas generaciones futuras pueden responder a las necesidades de alumnos que aprenden de porvida, que destacan en el uso de habilidades de sistemas de información, que son flexibles y vocalse adaptan a la falta de estabilidad en el trabajo, y que son capaces de manejar sus propiasoportunidades de emprendimiento. ¿Cómo se puede aplicar todo esto a la pedagogía vocal?Este trabajo tiene como objetivo la búsqueda de respuestas a estas cuestiones, además decontribuir a la discusión que se generó en la 10th Pan European Voice Conference, «PedagogíaVocal. ¿Qué necesitamos?». Se expone la lógica de usar prácticas reflexivas en la educación vocaly que realcen las habilidades metacognitivas del estudiante, al utilizar el conocimiento basadoen la evidencia. La provisión de feedback significativo y el uso de un enfoque holístico en laense˜nanza de la voz se presentan como los medios necesarios para responder a las necesidadesindividuales de los distintos aprendices. Los modelos de ense˜nanza basados en la resolución deproblemas y en el aprendizaje centrado en el alumno se proponen como elementos clave a lahora de desarrollar profesionales de la voz conscientes, que son los que mejor cumplen con lasdemandas de conocimiento de las sociedades del siglo xxi.
  • Miniatura
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    Real-Time Visual Feedback of Airflow in Voice Training: Aerodynamic Properties of Two Flow Ball Devices
    (Elsevier, 2017-05) Wistbacka, Greta; Amarante Andrade, Pedro; Granqvist, Svante; Lã, Filipa M.B.
    Objectives. Flow ball devices have been used as teaching tools to provide visual real-time feedback of airflow during singing. This study aims at exploring static back pressure and ball height as function of flow for two devices, marketed as flow ball and floating ball game. Study Design. This is a comparative descriptive study. Methods. A flow-driven vocal tract simulator was used to investigate the aerodynamic properties of these two devices, testing them for four different ball sizes. The flow range investigated was between 0 and 0.5 L/s. Audio, flow, pressure, and ball height were recorded. Results. The flow pressure profiles for both tested devices were similar to those observed in previous studies on narrow tubes. For lifting the ball, both devices had a flow and a pressure threshold. The tested floating ball game required considerably higher back pressure for a given flow as compared with the flow ball. Conclusions. Both tested devices have similar effects on back pressure as straws of 3.7 and 3.0 mm in diameter for the flow ball and the floating ball game, respectively. One might argue that both devices could be used as tools for practicing semi-occluded vocal tract exercises, with the additional benefit of providing real-time visual feedback of airflow during phonation. The flow threshold, combined with the flow feedback, would increase awareness of flow, rather than of pressure, during exercises using a flow ball device.
  • Miniatura
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    Formant Tuning Strategies in Professional Male Opera Singers
    (Elsevier, 2013-05) Sundberg, Johan; Gill, Brian P.; Lã, Filipa M.B.
    The term “formant tuning” is generally used for the case that one of the lowest formant frequencies coincides with the frequency of a source spectrum partial. Some authors claim that such coincidence is favorable and belongs to the goals of classical opera voice training, whereas other authors have found evidence for advising against it. This investigation analyzes the relationships between formant frequencies and partials in professional singers, who sang scales on the vowels /a/, /u/, /i/, and /ae/ in a pitch range including the passaggio, that is, the fundamental frequency range of approximately 300–400 Hz, applying either of the two singing strategies that are typically used (1) in classical and (2) in nonclassical singing, respectively. Formant frequencies of each note in the scales were measured by inverse-filtering the acoustic signal. In the classical style, the first formant tended to be lower than in the nonclassical style. Neither the first nor the second formant tended to change systematically between scale tones, such that on some scale tones either or both formants was just below, just above, or right on a spectrum partial. In many cases, singers produced similar spectrum characteristics of the top tones of the scales with different first and second formant frequencies. Regardless of whether the first formant was slightly lower, slightly higher, or right on a partial, the properties of the voice source did not seem to be affected.
  • Miniatura
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    Pain and posture of children and adolescents who learn the accordion as compared with non-instrumentalist learners
    (Science & Medicine, Inc., 2016-12-01) Liliana, Aparicio; Silva, Anabela G.; Lã, Filipa M.B.
    Objectives: This study aims at assessing the impacts of practicing the accordion on pain and posture of children and adolescent students. Methods: Pain and posture (forward head posture, scapular posture and lumbar lordosis) were compared between two groups of preparatory and secondary school students, matched for age and sex: those who have accordion lessons, hence accordionists (n=16) and those who never have studied a musical instrument, hence non-instrumentalists (n=16). Results: Students having accordion lessons reported significantly more pain in the shoulder, wrist/hand and thoracic regions (p<0.05), showed a significantly more forward head posture (accordionists (median±IQ distance) = 35.6º ± 7.8º, non-instrumentalists (median±IQ distance) = 45.3º±10.8º; p <0.05), and a significantly increased lumbar lordosis (accordionists (median±IQ 14 distance) = 55.5º ± 30.6º, non-musicians (median±IQ distance)= 39.0º ± 3.9º, p <0.05). No significant differences were found for scapular posture between groups. Conclusions: This study suggests that children and adolescents who play the accordion have an increased forward head posture and lumbar lordosis and a tendency to report more pain than children and adolescents who do no play any musical instrument
  • Miniatura
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    Pain prevalence in instrumentalist musicians: a systematic review
    (Science & Medicine, Inc., 2015-03-01) Silva, Anabela G.; Afreixo, Vera; Lã, Filipa M.B.
    Objective: To inform on current prevalence of pain amongst different musicians groups, sex and body region. Methods: Studies were sought from PubMed, Web of Science; Academic Search Complete, Science Direct and Scielo. Databases were searched since 1st January 2000 until December 2012. Two reviewers screened titles and abstracts, and assessed full reports for potentially eligible studies. One reviewer extracted information on musicians’ characteristics, study methods and study quality. When possible a meta-analysis of pain prevalence estimates was performed. Results: A total of 18 studies were included in this systematic review. Studies assessed pain prevalence in general and the prevalence of pain affecting playing capacity for different time periods (point prevalence, one week prevalence, one year prevalence, month prevalence and lifetime prevalence). The prevalence of pain in general, across all groups of musicians and periods of interest over which pain was assessed varied between 29.0% and 90.0%, whereas the prevalence of pain affecting playing capacity varied between 25.8% and 84.4%. There was a tendency for guitar players to have the highest pain prevalence. The most affected body regions were low back (9.8% - 66.7%) and neck (9.8% - 48.5%). Conclusions: Pain prevalence is high among musicians, independently of the pain definition used. Health and educational policy makers should become aware of the high lifetime pain prevalence affecting performance practices, so that pain associated mechanisms are investigated and preventive strategies can be implemented and tested.
  • Miniatura
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    Menopausal Voice-Related Work Limitation Scale (MenoVWL): development and validation
    (Elsevier, 2022-11-30) Mateos Ramírez, Ana; Ardura Martínez, Diego; Barro Fiuza, Mauro; Polo Cano, Nuria; Lã, Filipa M.B.
    Objectives Menopause has been reported to affect the voice of female professional voice users (FPVUs). The present study aims at the development and validation of a scale to measure self-perceived menopausal voice-related limitation to work in FPVUs, henceforth the Menopausal Voice-Related Work Limitation Scale (MenoVWL). Methods Items were drawn from previous studies on impacts of sex steroid hormones on voice, available validated scales, and in-depth interviews with post-menopausal FPVUs. A preliminary version with 16 items was evaluated by a panel of 15 voice experts. The resulting revised version was filled in online, together with questions on current endocrinological reproductive status and related symptoms, history of amenorrhea, professional occupation, and demographic information. Responses concerning only professional voice users were selected and inclusive and exclusive criteria were applied for correct allocation of participants into pre- and post-menopausal stages within a restrict age range;192 responses were subject to factorial analysis for MenoVWL validation. Cronbach's alpha measured internal reliability. The scale was tested by comparing MenoVWL scores between pre- and post-menopausal FPVUs (98 and 94, respectively). Results Thirteen items were retained from the expert panel evaluation. Items presented a high Content Validity Index (.94 out of 1) and high Item Acceptance Ratio (86.25 %). Both exploratory and confirmatory factorial analysis rendered one dimension scale with an excellent internal consistency (Cronbach's alpha = .9). The results of a Mann-Whitney test showed a higher MenoVWL score for post- as compared to pre-menopausal FPVUs (Z = - 2.818; P = .005). Conclusions MenoVWL is a comprehensive and validated scale with a known factor structure. It constitutes a health care and safety outcome self-perceived measure of value to the early detection of voice-related limitations to work in FPVUs during menopause.
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    Female Voice-Related Sexual Attractiveness to Males: Does it Vary With Different Degrees of Conception Likelihood?
    (Elsevier, 2023-05) Granqvist, Svante; Cova, Tania; Pais, Alberto C.; Polo Cano, Nuria; Lã, Filipa M.B.
    Previous investigations have found that female voice-related attractiveness to males increases when both conception likelihood (CL) and voice fundamental frequency (fo) are elevated. To test this hypothesis, we conducted a perceptual experiment where 78 heterosexual males rated sexual attractiveness of 9 female voice samples, recorded at menstrual, follicular and luteal phases of the menstrual cycle under two double-blinded randomly allocated conditions: a natural menstrual cycle (placebo condition) and when using an oral contraceptive pill (OCP condition). The voice samples yielded a total of 54 stimuli that were visually sorted and rated using Visor software. Concentrations of estrogens, progesterone and testosterone were analyzed, and measurements of speaking fundamental frequency (sfo) and its standard deviation (sfoSD), fo derivative (dfo) and fo slope were made. A multilevel ordinal logistic regression model nested in listeners and in females, and adjusted by phase and condition, was carried out to assess the association between ratings and: (1) phases and conditions; (2) sex steroid hormonal concentrations; and (3) voice parameters. A high probability of obtaining high ratings of voice sexual attractiveness was found for: (1) menstrual phase of placebo use and follicular phase of OCP use; (2) for low estradiol to progesterone ratio and testosterone concentrations; and (3) for low dfo. The latter showed a moderate statistical association with ratings of high attractiveness, as compared with the small association found for the remaining variables. It seems that the voice is a weak cue for female CL. Female sexual attraction to males may be a consequence of what females do in order to regulate their extended sexuality across the menstrual cycle rather than of estrus cues, the use of paralinguistic speech patterns being an example.
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    Long-Term Average Spectrum Characteristics of Portuguese Fado-Canção from Coimbra
    (Elsevier, 2023-07) Silva, Luciano S.; Granqvist, Svante; Lã, Filipa M.B.
    Descriptions of acoustical characteristics of Fado, a Portuguese urban style sung in Lisbon and Oporto, are scarce, particularly concerning Fado-Can¸c~ao, a related style sung in Coimbra. The present study aims at describing long-term average spectrum (LTAS) parameters of 16 professional singers while singing and reading the lyrics of a typical Fado-Can¸c~ao. LTAS parameters were investigated in terms of: (1) equivalent sound level (Leq); (2) spectral differences between 3 frequency bands 0−2, 2−5, and 5−8 kHz; and (3) quantification of spectral prominence between 2 and 4 kHz, calculated as the level difference between the peak in this frequency region and a reference trendline between 1 and 5 kHz, henceforth Formant Cluster Prominence (FCP). Given that Fado-Can¸c~ao, besides Fado and traditional styles, originated also from classical singing, and that previous studies on Fado suggest the absence of a singer’s formant cluster, the averaged LTAS for all Fado-Can¸c~ao singers was further compared to the LTAS of two world-touring opera baritones singing an operatic aria and a lied. Results show that Fado-Can¸c~ao is commonly sung with a Leq of 86.4 dB and a FCP of about 10 dB, values significantly higher when compared to reading. The FCP in Fado-Can¸c~ao, although smaller than for the two classical opera singers’ examples (14.8 and 20 dB, respectively), suggests that the style preserved some of its original lyrical influence. However, because younger singers present higher energy in the 5−8 kHz region relative to the remaining frequency bands as compared to older singers, it seems that Fado-Can¸c~ao may be drifting towards non-classical vocal practices. FCP seems to be a promising straightforward method to quantify the degree of formant clustering around the region of the singer’s formant in LTAS, allowing comparisons between different singers and singing styles.