Persona: Filipa M.B., Lã
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Filipa M.B., Lã
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Publicación The voice: promoting music learning with real-time feedback(Ediciones Universidad de Salamanca, 2019-06-15) Filipa M.B., Lã; Filipa M.B., LãTocar un instrumento musical mejora los resultados del aprendizaje de los niños en varios niveles más que cualquier otra actividad extracurricular. La mayor neuroplasticidad que la práctica instrumental promueve se refleja en una mayor capacidad de reorganización cerebral, fundamental en todos los tipos de aprendizaje. Estos beneficios se extienden también al aprendizaje del canto que, además, mejora la salud física y mental, lo que supone repercusiones sociales y para la salud pública. Así mismo, tocar un instrumento musical y cantar son consideradas actividades extracurriculares, particularmente en los sistemas educativos en el sur de Europa. No obstante, no todos los alumnos pueden beneficiarse de ellas, ya que su realización depende de los recursos físicos y financieros de las escuelas. Basado en un análisis de la bibliografía existente, este trabajo propone un modelo de enseñanza-aprendizaje de la música a través de la introducción de clases de canto, individuales y en grupo. De hecho, la voz es un instrumento musical disponible para todos, independientemente de la edad y condición socioeconómica. Se propone la inclusión de información de retorno como recurso de enseñanza-aprendizaje, usando las tecnologías como recurso de aprendizaje y siguiendo un modelo centrado en la relación profesor-alumno. Por un lado, porque la información de retorno es más eficaz en el aprendizaje de actividades de coordinación neuromotora y, por otro, porque un modelo centrado en la relación profesor-alumno se basa en la congruencia, el retorno positivo y la empatía, para la promoción de una consciencia guiada sobre el proceso de aprendizaje y, consecuentemente, conseguir un aumento de los niveles superiores de metacognición y autorregulación. El canto en las escuelas podrá también contribuir a la implementación de una enseñanza más integrada, promoviendo la coordinación de contenidos de diferentes asignaturas, con impacto en la integración y cohesión social de todos los intervinientes.Publicación Effects of the menstrual cycle and the oral contraception on singer´s pitch control(American Speech-Language-Hearing Association (ASHA), 2012-02-01) Filipa M.B., Lã; Sundberg, Johan; Howard, David M.; Sa Couto, Pedro; Freitas, Adelaide; Filipa M.B., LãPurpose: 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.Publicación Prácticas vocales basadas en la evidencia(['Elsevier', 'Asociación Española de Logopedia, Foniatría y Audiología e Iberoamericana de Fonoaudiología'], 2017-09) Filipa M.B., Lã; Filipa M.B., LãTradicionalmente 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 Pain prevalence in instrumentalist musicians: a systematic review(Science & Medicine, Inc., 2015-03-01) Silva, Anabela G.; Filipa M.B., Lã; Afreixo, Vera; Filipa M.B., LãObjective: 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 Voice source variation between vowels in male opera singers(Elsevier, 2016-09-01) Sundberg, Johan; Filipa M.B., Lã; Gill, Brian P.; Filipa M.B., LãObjectives: The theory of non-linear source-filter interaction predicts that the glottal voice source should be affected by the frequency relationship between formants and partials. An attempt to experimentally verify this theory is presented. Study design: Glottal voice source and electrolaryngograph (ELG) signal differences between vowels were analyzed in vowel sequences, sung at four pitches with the same degree of vocal loudness by professional opera singers. Also, the relationships between such differences and the frequency distance between the first formant (F1) and its closest partial were examined. Methods: A digital Laryngograph microprocessor was used to simultaneously record audio and ELG signals. The former was inverse-filtered and voice source parameters and formant frequencies were extracted. The amplitude quotient of the derivative of the ELG signal (AQdELG) and the contact quotient were also compared. Results: A one-way repeated measures ANOVA revealed significant differences between vowels, for contact quotient at four pitches and for MFDR at three pitches. For other voice source parameters, differences were found at one or two pitches only. No consistent correlation was found between MFDR and the distance between F1 and its closest partial. Conclusions: The glottal voice source tends to vary between vowels, presumably because of non-linear source-filter interaction, but the variation does not seem to be dependent upon the frequency distance between F1 and its closest partialPublicación Head and shoulder functional changes in flutists(Science & Medicine, Inc., 2013-09-01) Teixeira, Ziliane Lima de Oliveira; Filipa M.B., Lã; Gonçalves da Silva, Anabela; Filipa M.B., LãAims: This study aims at comparing head posture, symmetry of shoulder muscle strength and posture between developing flutists, professional flutists, and a matched control group of singers. Method: Measurements of head and scapular posture and muscle strength were compared between flutists with 10 or less years of practice (developing flutists; n=9), flutists with more than 10 years of practice (professional flutists; n=9) and singers (n=9). Posture was measured using a goniometer and a tape measure; strength was assessed using an isokinetic dynamometer. Results: Significant differences were found between groups concerning forward head posture only; developing flutists showed a higher forward head posture compared to the other two groups (p <0.05). No significant differences were found for scapular posture neither for muscle strength. Conclusions: Developing flutists showed significantly more forward head posture. This supports the need to revise existing music curricula targeting the inclusion of compulsory disciplines on music medicine.Publicación Physiology and its impact on the performance of singing(Oxford University Press, 2019) Filipa M.B., Lã; Gill, Brian P.; Filipa M.B., LãPublicación Formant Tuning Strategies in Professional Male Opera Singers(Elsevier, 2013-05) Sundberg, Johan; Filipa M.B., Lã; Gill, Brian P.; Filipa M.B., LãThe 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; Filipa M.B., Lã; Silva, Anabela G.; Filipa M.B., LãObjectives: 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 Contact quotient versus closed quotient: a comparative study on professional male singers(Elsevier, 2015-03) Filipa M.B., Lã; Sundberg, Johan; Filipa M.B., LãObjectives: The term “closed quotient” is frequently used for data derived both from inverse filtering and from electroglottography. In the former case it is defined as the ratio between the closed phase and the period, as measured in flow glottograms (FLOGG), while in the latter case it is defined as the time interval between the falling and rising parts of the electroglottogram (EGG), measured at some percentage of the peak-to-peak amplitude. The study aims at analyzing differences between EGG and FLOGG based closed quotients and their relationships with voice source parameters. Study Design: Comparative study Methods: FLOGG based and EGG based measures collected from five professional male singers were compared, under different pitch and loudness conditions. Results: As compared with the FLOGG based quotient, the EGG based quotient (i) varied more between subjects, (ii) presented greater values, (iii) varied less with subglottal pressure, (iv) varied less with the normalized amplitude quotient (i.e. the ratio between the flow pulse amplitude and the product of period and maximum flow declination rate), and (v) varied less with the relative amplitude of the voice source fundamental. Conclusions: Although positively related, FLOGG based and EGG based closed quotients differ and must not be confused.