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Filipa M.B., Lã

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0000-0001-5560-7406
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Filipa M.B., Lã
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2011 - 2019152020 - 202314
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Fecha de inicio: 2010 × search.filters.applied.f.itemDepartamento: Didáctica, Organización Escolar y Didácticas Especiales ×

Resultados de la búsqueda

Mostrando 1 - 10 de 29
  • Miniatura
    Publicación
    Kulning: Acoustic and Perceptual Characteristics of a Calling Style Used Within the Scandinavian Herding Tradition
    (Elsevier, 2022-01-03) Rosenberg, Susanne; Sundberg, Johan; Filipa M.B., Lã; Filipa M.B., Lã
    Kulning, a loud, high-pitched vocal calling technique pertaining to the Scandinavian herding system, has attracted several researchers' attention, mainly focusing on cultural, phonatory and musical aspects. Less attention has been paid to the spectral and physiological properties that characterize Kulning tones, and also if there is a physiologically optimum pitch range. We analyzed tones produced by ten participants with varying experience in Kulning. They performed a phrase, pitch range G5 to C6 (784 to 1046 Hz), in three different conditions: starting (1) on pitch A5, (2) on the participant's preferred pitch, and (3) after the deepest possible inhalation, also on the participant's preferred pitch subglottal pressure (Psub) was measured as the oral pressure during /p/-occlusion. The quality of the Kulning was rated by a group of experts. The highest-rated tones all had a sound pressure level (SPL) at 0.3 m exceeding 115 dB and a pitch higher than 1010 Hz, while the SPL of the lowest rated tones was less than 108 dB at a pitch below 900 Hz. A multiple regression analysis was performed to evaluate the relationship between the ratings and Psub), SPL, level of the fundamental and the frequency at which a spectrum envelope dip occurred. Highly rated tones were started at maximum lung volumes, and on participants’ preferred pitches. They all shared a high frequency of the spectrum envelope dip and a high level of the fundamental. In decreasing order of ratings, Condition 3 showed the highest values followed by Condition 2 and Condition 1. Each singer seemed to perform best within an individual Psub and pitch range. The relevance of the results to voice pedagogy, artistic, and compositional work is discussed.
  • Miniatura
    Publicación
    Glottal airflow and glottal area waveform characteristics of flow phonation in untrained vocally healthy adults
    (Elsevier, 2022-01) Patel, Rita R.; Sundberg, Johan; Gill, Brian P.; Filipa M.B., Lã; Filipa M.B., Lã
    Objective To examine flow phonation characteristics with regard to vocal fold vibration and voice source properties in vocally healthy adults using multimodality voice measurements across various phonation types (breathy, neutral, flow, and pressed) and loudness conditions (typical, loud, and soft). Participants and Methods Vocal fold vibration, airflow, acoustic, and subglottal pressure was analyzed in 13 untrained voices (six female and seven male). Participants repeated the syllable / pæ:/ using breathy, neutral, flow, and pressed phonation during typical, loud, and soft loudness conditions. Glottal area (GA) waveforms were extracted from high-speed videoendoscopy; glottal flow was derived from inverse filtering the airflow or the audio signal; and subglottal pressure was measured as the intraoral pressure during /p/ occlusion. Results Changes in phonation type and loudness conditions resulted in systematic variations across the relative peak closing velocity derived from the GA waveform for both males and females. Amplitude quotient derived from the flow glottogram varied across phonation types for males. Conclusion Multimodality evaluation using the GA waveform and the inverse filtered waveforms revealed a complex pattern that varied as a function of phonation types and loudness conditions across males and females. Emerging findings from this study suggests that future large-scale studies should focus on spatial and temporal features of closing speed and closing duration for differentiating flow phonation from other phonation types in untrained adults with and without voice disorders.
  • Miniatura
    Publicación
    The voice: promoting music learning with real-time feedback
    (Ediciones Universidad de Salamanca, 2019-06-15) Filipa M.B., Lã; Filipa M.B., Lã
    Tocar 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.
  • Miniatura
    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., Lã
    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.
  • Miniatura
    Publicación
    Singing at menopause: a systematic review with pedagogical implications
    (SAGE, 2021-12-16) Sevillano García, María Luisa; Filipa M.B., Lã; Barro Fiuza, Mauro; Filipa M.B., Lã
    Menopause is a certainty in a female singer’s life; depletion of estrogens may lead to physical, mental, and vocal symptoms. To investigate the extent to which these symptoms affect singers, a systematic literature review was carried out using eight interdisciplinary bibliographic databases. Combinations of the following key words were used: menopause, climacterium, singing, singers, and choir. From 18 studies, including three doctoral dissertations and a master’s thesis, only 10 met the inclusion criteria. The heterogeneity of study designs and methods of data collection and analysis precluded the carrying out of a meta-analysis. Instead, descriptors of symptoms affecting the voice, and vocal characteristics associated with menopause (menopause descriptors) were categorized, and their frequency of occurrence determined, according to six types of primary dataset: (1) self-reported symptoms, (2) acoustic characteristics, (3) observations of the larynx, (4) perceptual evaluations, (5) analysis of electrolaryngographic waveform characteristics, and (6) analysis of hormone concentrations. The descriptors that occurred most frequently in the literature concerned aspects of voice production, whereas those concerning vocal health, and vocal practice and performance, were less common. Of the three subsystems that comprise the vocal instrument, the vibrating vocal folds seem to be more affected than breathing and resonance. Changes in vocal range, timbre, endurance, and vocal fold mobility occur during menopause, affecting singers’ voice quality. Some singers reported that their ability to perform was compromised, mainly due to memory lapses and lack of confidence. Maintaining regular singing and practicing semi-occluded vocal tract exercises throughout the menopausal transition seem to help singers to overcome the negative impacts of menopause on vocal performance.
  • Miniatura
    Publicación
    Avaliação aerodinâmica e acústica da fonte de voz
    (Thieme Revinter, 2022) Sundberg, Johan; Filipa M.B., Lã; Filipa M.B., Lã
  • Miniatura
    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., Lã
    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
    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., Lã
    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
    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., Lã
    Objectives: 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 partial
  • Miniatura
    Publicación
    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., Lã
    Aims: 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.