Persona: Lã, Filipa M.B.
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Lã
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Filipa M.B.
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Publicación Pregnancy and the Singing Voice: Reports from a Case Study(Elsevier, 2012-07) Sundberg, Johan; Lã, Filipa M.B.Publicación Intonation and Expressivity: A Single Case Study of Classical Western Singing(Elsevier, 2013-05) Sundberg, Johan; Himonides, Evangelos; Lã, Filipa M.B.Previous studies have shown that singers tend to sharpen phrase-peak tones as compared with equally tempered tuning (ETT). Here we test the hypothesis that this can serve the purpose of musical expressivity. Data were drawn from earlier recordings, where a professional baritone sang excerpts as void of musical expression as he could (Neutral) and as expressive as in a concert (Concert). Fundamental frequency averaged over tones was examined and compared with ETT. Phrase-peak tones were sharper in excited examples, particularly in the Concert versions. These tones were flattened to ETT using the Melodyne software. The manipulated and original versions were presented pairwise to a musician panel that was asked to choose the more expressive version. By and large, the original versions were perceived as more expressive, thus supporting the common claim that intonation is a means for adding expressivity to a performance.Publicación 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.Publicación 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.Publicación 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.Publicación 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 instrumentPublicación 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.Publicación Professional male singers’ formant strategies for the vowel /a/(Taylor & Francis, 2011-11-15) Sundberg, Johan; Gill, Brian P.; Lã, Filipa M.B.Certain spectrum characteristics have been identified as important for register equalization around the male passaggio, an effect ascribed to formant tuning although descriptions of formant tuning diverge. Eight professional singers sang scales including their passaggio range on different vowels, applying two formant tuning strategies as found in (Citation) classical and (Citation) non-classical singing. Formant frequencies were measured using inverse filtering. Results revealed differences between the two strategies. For the classical formant tuning, systematic changes of formant frequencies with pitch were observed. For the highest note sung on /a/, was below the second partial and in the vicinity of the third. Similar spectrum characteristics were achieved by different and values between singers.Publicación Soul and Musical Theatre. A comparison of two vocal styles(Elsevier, 2017-03-01) Hallqvist, Hanna; Sundberg, Johan; Lã, Filipa M.B.The phonatory and resonatory characteristics of nonclassical styles of singing have been rarely analyzed in voice research. Six professional singers volunteered to sing excerpts from two songs pertaining to the musical theater and to the soul styles of singing. Voice source parameters and formant frequencies were analyzed by inverse filtering tones, sung at the same fundamental frequencies in both excerpts. As compared with musical theater, the soul style was characterized by significantly higher subglottal pressure and maximum flow declination rate. Yet sound pressure level was lower, suggesting higher glottal resistance. The differences would be the effects of firmer glottal adduction and a greater frequency separation between the first formant and its closest spectrum partial in soul than in musical theater.Publicación Effects of the menstrual cycle and the oral contraception on singer´s pitch control(American Speech-Language-Hearing Association (ASHA), 2012-02-01) Sundberg, Johan; Howard, David M.; Sa Couto, Pedro; Freitas, Adelaide; Lã, Filipa M.B.Purpose: Difficulties with intonation and vibrato control during the menstrual cycle have been reported by singers; however, this phenomenon has not yet been systematically investigated. Method: A double-blind randomized placebo-controlled trial assessing effects of the menstrual cycle and use of a combined oral contraceptive pill (OCP) on pitch control in singing is presented. Audio-electrolaryngograph recordings were made and blood samples were taken from 9 singers in each of the 3 phases of the menstrual cycle both under the placebo and the OCP conditions for a total of 6 months. Participants sang an exercise consisting of an ascending octave followed by a descending major triad, starting on pitches F4 and B4. Pitch control was assessed in terms of the octave's deviations from pure intonation and of the vibrato rate and extent. Results: Significant differences were found between the 3 phases of the cycle regarding octave size only for pitch F5 during OCP use. Significant vibrato rate differences between placebo and OCP conditions were found only for pitch F5. Conclusion: OCP use may have an effect on pitch control in singers. Possible explanations point to a complex interaction between hormonal milieu and pitch control, enhancing the need for longitudinal studies.