Neural processing of poems and songs is based on melodic properties.

The neural processing of speech and music is still a matter of debate. A long tradition that assumes shared processing capacities for the two domains contrasts with views that assume domain-specific processing. We here contribute to this topic by investigating, in a functional magnetic imaging (fMRI) study, ecologically valid stimuli that are identical in wording and differ only in that one group is typically spoken (or silently read), whereas the other is sung: poems and their respective musical settings. We focus on the melodic properties of spoken poems and their sung musical counterparts by looking at proportions of significant autocorrelations (PSA) based on pitch values extracted from their recordings. Following earlier studies, we assumed a bias of poem-processing towards the left and a bias for song-processing on the right hemisphere. Furthermore, PSA values of poems and songs were expected to explain variance in left- vs. right-temporal brain areas, while continuous liking ratings obtained in the scanner should modulate activity in the reward network. Overall, poem processing compared to song processing relied on left temporal regions, including the superior temporal gyrus, whereas song processing compared to poem processing recruited more right temporal areas, including Heschl's gyrus and the superior temporal gyrus. PSA values co-varied with activation in bilateral temporal regions for poems, and in right-dominant fronto-temporal regions for songs. Continuous liking ratings were correlated with activity in the default mode network for both poems and songs. The pattern of results suggests that the neural processing of poems and their musical settings is based on their melodic properties, supported by bilateral temporal auditory areas and an additional right fronto-temporal network known to be implicated in the processing of melodies in songs. These findings take a middle ground in providing evidence for specific processing circuits for speech and music in the left and right hemisphere, but simultaneously for shared processing of melodic aspects of both poems and their musical settings in the right temporal cortex. Thus, we demonstrate the neurobiological plausibility of assuming the importance of melodic properties in spoken and sung aesthetic language alike, along with the involvement of the default mode network in the aesthetic appreciation of these properties.

O uso da voz nos rituais indígenas Pankararu / The use of voice in Pankararu indigenous rituals / El uso de la voz en los rituales indígenas Pankararu

Introdução: a voz é essencial para preservação e manutenção da cultura de grupos sociais. O povo Pankararu, vincula sua língua-mãe aos rituais religiosos. A principal forma de transmitir a tradição oral é através dos cantos nos rituais dos Praiás. Objetivo: resgatar o uso de voz pelos cantadores Pankararu no ritual dos Praiás, à luz do saber tradicional e científico. Método: estudo qualitativo, do tipo história de vida, autobiográfica, no qual foram acessadas memórias individuais e coletivas da comunidade Pankararu, considerando a caracterização do povo, do ambiente e o uso de voz nos rituais. Resultados: os cantadores utilizam a voz de maneira intensa e contínua, sem hidratação, e fumam cachimbo durante o ritual. O local onde cantam é um terreiro, espaço aberto, exposto às intempéries da natureza, com presença de poeira. Para cuidar da voz, baseiam-se no saber tradicional, apresentando uma visão distinta do conhecimento científico, no qual a voz representa sua cultura e identidade. Nesta perspectiva, hábitos descritos pela literatura como deletérios, são considerados saudáveis, demonstrando uma concepção singular de saúde. Conclusão: o conhecimento científico, paralelamente ao tradicional, poderá contribuir para estabelecimento de cuidados que visem à saúde vocal dos Pankararus.  Poderei oferecer ao meu povo, o qual apresenta demandas de saúde, conhecimentos científicos proporcionando uma melhor qualidade de voz e vida.

Introduction: The voice is essential for the preservation and maintenance of the culture of social groups. The Pankararu people link their mother language to religious rituals. The main way of transmitting the oral tradition is through singing in the rituals of Praiás. Objective: To rescue the use of voice by Pankararu singers in the Praiás ritual, considering the traditional and scientific knowledges. Method: Qualitative study, history life, autobiography design, which individual and collective memories of the Pankararu community were accessed, considering the characterization of the people, environment, and voice use in the rituals. Results: The singers use their voices intensely and continuously, without hydration, and smoking pipes during the ritual. The "terreiro" is the place where they sing, an open space, exposed to wuthering and dust. They are based on traditional knowledge for taking care of their voices, in a different view of scientific knowledge, in which voice represents their culture and identity. In this perspective, habits described in the literature as harmful are considered healthy, demonstrating a unique conception of health. Conclusion: Scientific knowledge, in parallel with the traditional one, can contribute to establish care aimed at the vocal health of the Pankararus. I will be able to offer to my people, who have health demands, scientific knowledge providing a better quality of voice and life.

Introducción: la voz es fundamental para la preservación y mantenimiento de la cultura de los grupos sociales. La gente de Pankararu, vincula su lengua materna a los rituales religiosos. La principal forma de transmitir la tradición oral es a través del canto en los rituales de Praiás. Objetivo: rescatar el uso de la voz de los cantantes de Pankararu en el ritual Praiás, a la luz de los conocimientos tradicionales y científicos. Método: estudio cualitativo, del tipo de historia de vida; Se accedió a las memorias individuales y colectivas de la comunidad Pankararu, considerando la caracterización de las personas, el entorno y el uso de la voz en los rituales. Resultados: los cantantes utilizan sus voces de forma intensa y continua, sin hidratarse, pipas de humo durante el ritual. El lugar donde canta el terreiro, un espacio abierto, expuesto a la intemperie de la naturaleza, con presencia de polvo. Para cuidar la voz, se basan en los conocimientos tradicionales, presentan una visión diferente del conocimiento científico, donde la voz representa la cultura y la identidad. En esta perspectiva, los hábitos descritos en la literatura como nocivos, se consideran saludables, demostrando una concepción única de la salud. Conclusión: El conocimiento científico, además del conocimiento tradicional, puede contribuir al establecimiento de cuidados dirigidos a la salud vocal de los Pankararus. Podré ofrecer a mi gente, que tiene demandas de salud, conocimientos científicos que brinden una mejor calidad de vida.

Endoscopic and Computed Tomography Evaluation of Posterior Glottic Closure During Phonation.

OBJECTIVES/HYPOTHESIS: The anatomy of the posterior glottis, specifically the states of the posterior glottis during phonation, has not been thoroughly explored in laryngology. Conventional wisdom about the posterior glottis indicates that it tends to be completely closed in men but may be open in women. Furthermore, professional singers are expected to have a completely closed posterior glottis. The aim of this study was to investigate whether these generalizations are true by comparing rigid videolaryngostroboscopy results with high-resolution computed tomography (HRCT) and three-dimensional (3D) reconstruction findings. STUDY DESIGN: Prospective study. METHODS: Of the 90 volunteers (58 women, 32 men) examined, 48 were female professional singers, 10 were female nonsingers, 22 were male professional singers, and 10 were male nonsingers. Rigid videolaryngostroboscopy as well as HRCT scans were performed during singing at the average singing fundamental frequency. HRCT images of the larynx and air-column were 3D visualized using the software MIMICS®. The states of the posterior glottis were assessed in both examinations and compared among participants. RESULTS: The sensitivity of endoscopy was 67.5%. Complete closure of the posterior glottis was observed in 62.5% men and 52% women (P = .33). Complete closure of the posterior glottis was observed in 35% nonsingers and 61% professional singers (P = .036). CONCLUSIONS: The closure of the posterior glottis seen on videolaryngostroboscopy does not always correlate with actual closure. There seems to be no link between sex and complete closure of the glottis. However, there is strong evidence that posterior glottis closure can be influenced, to some degree, by vocal training. LEVEL OF EVIDENCE: 4 Laryngoscope, 132:124-129, 2022.

Prospective Evaluation of Safety of Singing on Steroids: Testing the Truth of Received Wisdom.

OBJECTIVES/HYPOTHESIS: Performing while on steroids is widely considered to increase risk of vocal injury. This study aims to determine incidence and type of injury, and changes in performers' voices after treatment of vocal fold edema (VFE) with glucocorticoids. STUDY DESIGN: Prospective Cohort. METHODS: Fifty-five performers (34 female; 21 male) treated for acute VFE with short-course oral glucocorticoids were prospectively evaluated pre- and post-treatment. Subjects underwent videostroboscopy, acoustic/aerodynamic assessment, and functional assessment with the Singing Voice Handicap Index-10 (SVHI-10) and Evaluation of the Ability to Sing Easily (EASE). Blinded reviewers rated videostroboscopic examinations and performed audio-perceptual assessment. Chi-square tests and Wilcoxon signed rank tests were applied for analyses of treatment changes. RESULTS: Following glucocorticoid treatment, two instances of vocal fold hemorrhage (3.6%) and three instances of glottic thrush (5.5%) were observed. These resolved without consequence. Mucosal wave dynamics and edema improved. Nearly all subjects completed scheduled performances, and significant improvement was noted on the EASE, reflecting improved function after treatment. These were further supported by statistically significant improvements in CAPE-V and some acoustic and aerodynamic outcomes (semitone pitch range for females, airflow measures for males). CONCLUSIONS: Oral glucocorticoids appear to be generally safe for performers presenting with acute VFE. The incidence of adverse effects, specifically hemorrhage and thrush, was low and the effects transient. Vocal fold examination should be considered obligatory before prescribing glucorticoids to working performers. A treatment strategy for acute VF edema incorporating glucocorticoids when appropriate appears to result in significant improvements in measures of glottal function including videostroboscopic appearance, subject perception, and auditory perception. LEVEL OF EVIDENCE: 4 Laryngoscope, 131:2298-2304, 2021.

Predominant Vertical Location of Benign Vocal Fold Lesions by Sex and Music Genre: Implication for Pathogenesis.

OBJECTIVES/HYPOTHESIS: Vertical locations of vocal fold mucosal lesions (VFMLs) vary along the free edge. As the vertical contact area of vocal folds (VFs) depends on the vocal register, lesions may occur in the contact area of more frequently used vocal registers. This study investigated the cause of location variations by comparing the vertical sites of VFMLs in singers of both sexes with different music genres. STUDY DESIGN: Retrospective review. METHODS: Sixty professional classical and rock singers (11 male classical [M-classical], 22 male rock [M-rock], 13 female classical [F-classical], and 14 female rock [F-rock] singers) who underwent microlaryngeal surgery for VF polyps and nodules and their 108 lesions were enrolled. The VF free edge was vertically divided into three equal parts and classified into the following four lesion sites: upper, middle, lower, and multiple sites. RESULTS: Upper lesions were most common among F-classical singers (73.9%), whereas lower lesions were most common among M-classical (90.0%) and M-rock (60.6%) singers. Among lesions localized to a single site, lower lesions were most common among F-rock singers (37.0%). F-classical singers had significantly more upper lesions than the other groups (P < .001). M-classical singers had significantly more lower lesions than female singers of any genre (P < .001). CONCLUSION: Upper lesions were most common among F-classical singers who mostly used the head voice. Lower lesions were most common among singers who mainly used the modal voice. This study suggests that sex, the dominant vocal register used for singing, and mechanical stress on VFs influence the vertical site of VFMLs. LEVEL OF EVIDENCE: 4 Laryngoscope, 131:E2284-E2291, 2021.

Endoscopic Findings in Male Prepubertal Choir Singers.

OBJECTIVES/HYPOTHESIS: The male singing voice through puberty undergoes many changes that present challenges for the singer and choral director. The purpose of this study was to discuss the endoscopic findings seen in prepubescent choir singers. STUDY DESIGN: Single-institution prospective study. METHODS: Subjects were recruited from the Cincinnati Boychoir and were described as Cooksey stage unchanged or mid-voice I, as described by the Boychoir artistic director. Vocal history was obtained via questionnaire at the initial visit. Subjects with known laryngeal pathologies were excluded. Endoscopic laryngeal examinations were performed using videoendoscopy. During examination, each subject sang four discrete frequencies. Findings of the endoscopic exam were judged by a board-certified pediatric otolaryngologist specializing in pediatric voice. RESULTS: We evaluated 28 subjects prior to vocal maturation. Their age range was 8 to 13 years old (mean = 10.2 ± 1.2 years). The singing voice category of all 28 subjects was described as soprano vocal range by the Boychoir artistic director. The subjects had a mean of 1.7 ± 1.1 years in the Boychoir (0-5 years). None reported history of vocal issues or voice problems in the past; seven (25%) subjects had vocal fold lesions seen at one or more frequencies; 24 (85%) subjects had a posterior gap seen at one or more frequencies. Two subjects (7%) had a posterior gap at one frequency, C3 and G3, respectively. Five subjects (18%) had a posterior gap at two frequencies, seven subjects (25%) at three frequencies, and 10 subjects (36%) in all four frequencies. CONCLUSIONS: Our study aimed to describe the laryngeal examination of dedicated Boychoir singers prior to undergoing pubertal development and vocal maturation. In elite pediatric singers we found that vocal nodules are common (25%) and are not correlated with vocal symptoms. These findings may suggest that asymptomatic lesions may be more prevalent than previously thought. In these individuals, posterior glottic gap is common and can be considered a normal glottal configuration. LEVEL OF EVIDENCE: 4 Laryngoscope, 131:592-597, 2021.

A função constitutiva da voz e o poder da música no tratamento do autismo / La función constitutiva de la voz y el poder de la música en el tratamiento del autismo / The constitutive function of voice and the power of music in the treatment of autism

RESUMO. O artigo parte de uma experiência de pesquisa sobre o tratamento psicanalítico em grupo de crianças autistas, para refletir acerca da presença de mais de um analista no setting. A interação entre os analistas favorece uma abordagem não diretiva, permitindo à criança que ela se aproxime espontaneamente, sem ser forçada a um contato que pode ser sentido como extremamente angustiante pelo autista. Ademais, constatam-se os efeitos da voz como suporte para os próprios interventores, que dialogam, brincam e cantam entre eles, suscitando uma animação libidinal capaz de mobilizar a criança autista. A música que circula nas brincadeiras de roda veicula tanto aspectos simbólicos da cultura quanto o real do gozo de alíngua. Em um caso particular, a prosódia do canto mostrou-se uma forma imaginária específica de tratar a dimensão real da voz que invade o sujeito autista. Servindo-se de canções populares como objetos de mediação, foi possível orientar o tratamento a partir de uma solução que veio do próprio sujeito, que, antecipado neste ato, pode ouvir a invocação para advir. Evidencia-se assim, também no autismo, o papel do objeto pulsional voz para a constituição subjetiva.

RESUMEN. El artículo parte de una experiencia de investigación sobre el tratamiento psicoanalítico en grupo de niños autistas, para pensar se a propósito de la presencia de más de un analista en el setting. La interacción entre analistas favorece un abordaje no directivo, permitiendo que el niño se acerque espontáneamente, sin ser forzado a un contacto que puede ser extremadamente angustiante para el autista. Además, se constatan los efectos de la voz como soporte para los propios interventores, que dialogan, juegan y cantan entre sí, evocando una animación liminal capaz de movilizar el niño autista. La música que circula en las cirandas transmite tanto los aspectos simbólicos de la cultura cuanto el real del goce de la lengua. En un caso particular, la prosodia del canto se ha mostrado una forma imaginaria específica de tratar la dimensión real de la voz que invade el sujeto autista. Haciendo uso de canciones populares como objetos de mediación, fue posible guiar el tratamiento a partir de una solución proveniente del propio sujeto, que, anticipado en este acto, puede escuchar la invocación para venir a ser. Se evidencia así, también en el autismo, el papel del objeto pulsional voz para la constitución subjetiva.

ABSTRACT. Based on a research experience regarding the psychoanalytical group treatment of autistic children, the article reflects on the presence of more than one analyst in the setting. The interaction between analysts favors a non-directive approach, enabling the child to take action spontaneously, without being forced to a contact that can be extremely unsettling for the autist. Furthermore, one observes the effects of voice as a support for the caretakers, who talk, play and sing with each other, eliciting a libidinal excitement able to involve the autistic child. The music that reverberates through the circle games transmits both the symbolic aspects of culture and the real of la langue's jouissance. In a particular case, the singing prosody revealed itself to be a specific imaginary way to treat the real of voice which invades the autistic subject. Using folk songs as mediation objects, it was possible to conceive a treatment direction that took into account a solution that sprung from the subject, who, anticipated in this act, can hear the invocation to arise. Thus, one evidences, also in autism, the role of voice as pulsional object in the subjective constitution.

Pansori today: aesthetic demands vs. vocal health / Pansori hoy: demandas estéticas vs. salud vocal

Introduction:Pansori is a traditional Korean dramatic art form, which likely ap-peared in the mid-eighteenth century in the southern region of Korea. In pansorithere is a strong inclination toward preserving tradition, especially in regard to train-ing, which is generally considered particularly demanding in terms of risks to vo-cal health. Nevertheless ­as highlighted by recent studies­ some innovations took place in pansori characteristics and performances in the last few decades.Objective: We hypothesize that these innovations have impacted the attitudes of singers and teachers towards pansori training and vocal health issues, and that a new approach to voice training in pansori might be recommended.Method: Starting with recent evolutions of pansori and considering previous studies, we discuss how these changes might produce innovations ­or at least a demand for innovation­ in pansori's training. We also try to capture the viewpoint of pansori stu-dents and performers, through an anonymous survey.Results: Although further investigation is required, the results suggest that a new approach in teaching pansori is emerging and it is increasingly requested by the train-ee performers, despite some criticisms from traditionalists.Conclusion: Unlike previously thought, perhaps a more scientific and health-con-scious approach to pansori voice training will be something from which many pansorisingers can benefit.

Introducción: Pansori es una forma de arte dramático tradicional coreano que pro-bablemente apareció a mediados del siglo XVIII en la región sur de Corea. En pansorihay una fuerte inclinación a preservar la tradición, especialmente en lo que respecta al entrenamiento, que generalmente se considera particularmente exigente en térmi-nos de riesgos para la salud vocal. Sin embargo, como destacan estudios recientes, se produjeron algunas innovaciones en las características y actuaciones del pansori en las últimas décadas.Objetivo: Hipotetizamos que estas innovaciones han impactado las actitudes de can-tantes y profesores hacia la formación del pansori y los problemas de salud vocal, y que podría recomendarse un nuevo enfoque para el entrenamiento de la voz en pansori.Método: Comenzando con las evoluciones recientes de pansori y considerando es-tudios previos, discutimos cómo estos cambios pueden producir innovaciones, o al menos una demanda de innovación, en la formación de pansori. También tratamos de captar el punto de vista de los estudiantes e intérpretes de pansori, a través de una encuesta anónima.Resultados: Aunque se requiere más investigación, los resultados sugieren que está surgiendo un nuevo enfoque en la enseñanza del pansori y es cada vez más solicitado por los artistas en formación, a pesar de algunas críticas de los tradicionalistas.Conclusión: A diferencia de lo que se pensaba anteriormente, quizás un enfoque más científico y consciente de la salud para el entrenamiento de la voz en pansori será algo de lo que muchos cantantes de pansori puedan beneficiarse

Desafíos de la pedagogía vocal en la música comercial contemporánea / Challenges of vocal pedagogy in contemporary commercial music

Desde sus inicios, la pedagogía vocal de la música comercial contemporánea (tér-mino utilizado para referirse a la música popular, no lírica), se ha visto enfrentada a una serie de desafíos, dado a que inicialmente su canto fue enseñado de acuerdo con la técnica lírica, a pesar de contar con diferencias sustanciales en cuanto a la forma de emplear la voz, los recursos y registros vocales, propios de cada género musical, la amplificación externa, la formación y conocimientos necesarios para entrenar la voz, la evaluación y detección de problemas vocales, las herramientas pedagógicas necesarias para enseñar canto, entre otras distinciones. Lo anterior exige un replan-teamiento de la pedagogía vocal y sus metodologías correspondientes para promover el aprendizaje de estudiantes de canto de música comercial contemporánea

Contemporary commercial music vocal pedagogy has faced a number of challenges. This term is used to refer to popular or "non-lyrical" music. From its beginnings, the singing of contemporary commercial music was related and was taught based on lyrical technique, despite having substantial differences in the way of using the voice, such as the use of vocal registers, external amplification, and vocal resources of each musical genre, among other distinctions. Other challenges mentioned will be the training and knowledge necessary to train the voice, the evaluation and detection of vocal problems, and the pedagogical tools necessary to teach singing are challenges. Due to the aforementioned, there must be a rethinking of vocal pedagogy and its corresponding methodologies to promote the learning of contemporary commercial music singing students

Superagudos: análise perceptivo-auditiva da voz e autorrelato em sopranos profissionais / Upper high notes: auditory-perceptual analysis of voice and self-reporting among professional sopranos

RESUMO Objetivo Descrever a emissão de superagudos em sopranos profissionais por meio da avaliação perceptivo-auditiva da voz e do autorrelato das cantoras. Método Cinco sopranos profissionais executaram o trecho de uma ópera de Bellini no qual havia a emissão de uma nota superaguda. A avaliação perceptivo-auditiva foi realizada por seis avaliadores (três fonoaudiólogos e três professores de canto) que consideraram brilho, loudness, metal, vibrato, soprosidade e ressonância em uma escala visual-analítica, tendo como base a emissão aguda de cada uma das cantoras. Após a gravação, as cantoras responderam a um questionário proprioceptivo sobre as sensações físicas durante a produção dos superagudos. Foi realizada uma análise inferencial dos dados da avaliação perceptivo-auditiva e transcrição ortográfica resumida do autorrelato das cantoras. Resultados Na análise perceptivo-auditiva, a emissão superaguda foi caracterizada por presença de brilho, loudness, metal, vibrato e ressonância anteriorizada percebida por fonoaudiólogos e professores de canto. No relato proprioceptivo, todas as cantoras referiram elevação de laringe e necessidade de utilização do apoio respiratório para emitir a nota superaguda. Conclusão Os superagudos foram caracterizados por uma emissão vocal brilhante, loudness aumentada, metálica, com vibrato, com pouca ou nenhuma soprosidade, com sensação de elevação da laringe e necessidade de apoio respiratório.

ABSTRACT Purpose To describe the emission of upper high notes by professional sopranos by means of the auditory-perceptual evaluation of the singers' voices and self-reports. Methods Five professional sopranos performed an excerpt from a Bellini opera which involved the emission of an upper high note. The auditory-perceptual evaluation was carried out by three speech-language therapists and three singing teachers, who considered brightness, loudness, metal quality, vibrato, breathiness, and resonance on a visual-analytical scale, based on each singer's emission of high notes. After the recording, the singers were asked to answer a proprioceptive questionnaire on the physical sensations that they had as they emitted upper high notes. An inferential analysis of the data from the auditory-perceptual evaluation was conducted, and the singers' self-reports were summarized and then orthographically transcribed. Results In the auditory-perceptual analysis, the emission of upper high notes was characterized according to the presence of brightness, loudness, metal quality, vibrato, and anterior resonance, as perceived by speech-language therapists and singing teachers. In the proprioceptive report, all singers reported laryngeal elevation and a need to use respiratory support in order to emit upper high notes. Conclusion Upper high notes are characterized by a bright vocal emission, enhanced loudness, with a metallic quality and vibrato, little or no breathiness, accompanied by a sensation of laryngeal elevation and a need for respiratory support.

Electrical stimulation of the cingulate elicits involuntary singing.

Human neural networks important for singing have not been clearly elucidated. Here, we present a case of electrical brain stimulation of the right non-language dominant cingulate gyrus during brain surgery for epilepsy which resulted in involuntary singing of spoken language. We postulate that the current observation provides the strongest evidence as of yet that the cingulate gyrus is directly involved in voluntary motor control of singing. [Published with video sequence].

Percepção da voz em professoras: narrativas de vida entre os espaços do trabalho e do coro cênico / Voice perception in teachers: life-story narratives between workspaces and the scenic choir

RESUMO Objetivo Investigar a percepção do uso da voz como ferramenta de trabalho e instrumento de expressão de arte, num coro de professoras da Educação Infantil. Método Pesquisa qualitativa, método etnográfico, produção e análise de diário de campo e observação participante. Cinco narrativas de história de vida elaboradas com professoras participantes e a regente do coro, utilizadas como recurso metodológico na produção de dados e de aproximação entre sujeitos (pesquisadora e participantes). Tais narrativas e o diário de campo foram analisados sob a perspectiva da revisão bibliográfica sobre arte e temas referentes ao objeto da pesquisa previamente elencados: uso da voz na arte e na profissão; a influência da organização do trabalho no uso da voz dessas professoras e como elas cuidam da saúde vocal antes e depois da participação no coro cênico. Resultados A arte, a música e a participação em um coro cênico podem ser uma estratégia eficiente para a promoção da saúde vocal e também para a escolha de estilos de vida nos quais essas mulheres exercitam o cuidado de si. Conclusão Foi constatada pouca oferta de programas de prevenção e promoção de saúde vocal para as professoras, tanto no sistema de saúde quanto aqueles disponibilizados pelas instituições em que as docentes atuam.

ABSTRACT Purpose To investigate the perception of voice use as a work tool and an instrument of artistic expression in a choir of early childhood education teachers. Methods A qualitative research carried out by means of an ethnographic method involving the production and analysis of a field journal and participant observation. Five life-story narratives were produced alongside the participating teachers and the choir conductor. They were used as a data production methodological resource and with the aim to develop rapport between the study's subjects (researcher and participants). The narratives and field journal were analyzed from the perspective of the bibliographical review carried out on art and the previously established topics related to the object of study: Artistic and professional voice use; the influence of work organization on the teachers' voice use; and the influence of their participation in the scenic choir on their vocal health care. Results Art, music, and participation in a scenic choir may be an effective strategy to promote vocal health in addition to choosing lifestyles that allow for these women's exercise of self-care. Conclusion There is little evidence of vocal disorder prevention and vocal health promotion programs aimed at teachers, in both the health system and the employer institutions.

Efficacy of Phonosurgery, Logopedic Voice Treatment and Vocal Pedagogy in Common Voice Problems of Singers.

INTRODUCTION: Functional and organic impairments of the singing voice are common career-threatening problems of singers presenting in phoniatric and laryngological departments. The objective was to evaluate the efficacy of phonosurgery, logopedic voice treatment and vocal pedagogy in common organic and functional voice problems of singers, including investigation of the recently introduced parameter vocal extent measure (VEM). METHODS: In a prospective clinical study, the analysis of treatment outcome in 76 singers [57 female, 19 male; 38 ± 11 years (mean ± SD)] was based on pre- and post-therapeutic voice function diagnostics and videolaryngostroboscopy. Examination instruments included auditory-perceptual voice assessment, voice range profile (VRP), the VEM calculated from area and shape of the VRP, acoustic-aerodynamic analysis, and patients' self-assessment (e.g., Singing Voice Handicap Index). RESULTS: While 28% of all singers (21/76) presented with functional dysphonia, 72% (55/76) were diagnosed with organic vocal fold changes, of which marginal edema (n = 25), nodules (n = 9), and polyps (n = 8) were the most common pathologic changes. Of the 76 singers, 57% (43) received phonosurgery, 43% (33) had conservative pedagogic (14) and logopedic (19) treatment. Three months post-therapeutically, most parameters had significantly improved. The dysphonia severity index (DSI) increased on average from 6.1 ± 2.0 to 7.4 ± 1.8 (p < 0.001), and the VEM from 113 ± 20 to 124 ± 14 (p < 0.001). Both parameters correlated significantly with each other (rs = 0.41). Phonosurgery had the largest impact on the improvement of vocal function. Conservative therapies provided smaller quantitative enhancements but also qualitative vocal restoration with recovered artistic capabilities. CONCLUSIONS: Depending on individual medical indication, phonosurgery, logopedic treatment and voice teaching are all effective, objectively and subjectively satisfactory therapies to improve the impaired singing voice. The use of VEM in singers with functional and organic dysphonia objectifies and quantifies their vocal capacity as documented in the VRP. Complementing the established DSI, VEM introduction into practical objective voice diagnostics is appropriate and desirable especially for the treatment of singers.

Medidas acústicas e aerodinâmicas em cantores: comparação entre homens e mulheres / Acoustic and aerodynamic measures in singers: a comparison between genders

RESUMO Objetivo Comparar medidas acústicas e aerodinâmicas da voz em homens e mulheres cantores. Método Trata-se de um estudo transversal, observacional, comparativo, com amostra de conveniência. Participaram do estudo 30 homens e 30 mulheres cantores. Foi realizada avaliação das medidas acústicas (intensidade e frequência fundamental) e aerodinâmicas (tempo de expiração, pressão aérea, fluxo de ar expirado e vozeado, volume expiratório, potência e resistência aerodinâmica, impedância acústica e eficiência aerodinâmica) durante a emissão da sílaba /pá/ em frequência e intensidade habituais, sete vezes consecutivas. Estas emissões permitem a extração de medidas de pressão aérea (obtidas da consoante plosiva /p/ que estima a pressão glótica) e das medidas de fluxo aéreo e acústicas da voz (obtidas da vogal /a/ da sílaba /pá/). Resultados Na comparação de homens e mulheres cantores, as mulheres apresentam maiores valores de frequência fundamental, e não houve diferenças na avaliação de valores das medidas aerodinâmicas entre os gêneros. Conclusão Os valores das medidas aerodinâmicas não se diferenciam entre mulheres e homens cantores.

ABSTRACT Purpose Compare acoustic and aerodynamic voice measures between male and female singers. Methods A cross-sectional, observational, comparative study conducted with a convenience sample. Study participants were 30 male and 30 female singers. Acoustic (vocal intensity and fundamental frequency) and aerodynamic (expiration time, air pressure, expiratory and voice airflow, expiratory volume, aerodynamic power and resistance, acoustic impedance, and aerodynamic efficiency) measures were assessed during emission of the syllable /pá/, at usual frequency and intensity, for seven consecutive times. These emissions enable extraction of air pressure measures (obtained by the plosive consonant /p/, which estimates glottic pressure), as well as of airflow and acoustic voice measures (obtained by the vowel /a/ and the syllable /pá/). Results Women presented higher values of fundamental frequency compared with those of men. No differences were identified in the evaluation of aerodynamic measures between the groups. Conclusion Values of aerodynamic measures do not differ between male and female singers.

Equivalencia cultural de la versión Chilena del Modern Singing Handicap Index: MSHI / Cross-cultural adaptation of the Chilean version of the Modern Singing Handicap Index: MSHI

RESUMEN Objetivo Realizar la equivalencia a la versión Chilena del protocolo Italiano, Modern Singing Handicap Index - MSHI a través de su adaptación cultural y lingüística. Método Fue realizada la traducción del MSHI para el Español Chileno y la retro traducción para el Italiano, de la cual surgieron discrepancias; éstas fueron resueltas por un comité de cuatro fonoaudiólogos bilingües Español e Italiano, que llegaron a un consenso desde donde surgió el instrumento llamado Índice de Desventaja Vocal para Canto Popular - IDVCP-Ch, compuesto de 30 ítems y cuatro tipos de respuestas. El IDVCP-Ch fue aplicado a 25 cantantes populares, amateurs y profesionales. A cada ítem se le agregó la opción "No aplicable" en las elecciones de respuesta, con el fin de identificar ítems incomprendidos o inapropiados para la población en cuestión. Nueve de los individuos tuvieron dificultades en el momento de contestar ocho ítems, adaptando nuevamente seis de ellos; el IDCVP-Ch modificado fue aplicado a 11 cantantes que no habían participado de la etapa anterior; en esta segunda aplicación no existieron ítems incomprendidos para la cultura Chilena. Resultados El IDCVP-Ch refleja la versión original de Italiano, tanto en la cantidad de ítems como en las limitaciones de los dominios discapacidad, desventaja e impedimentos. Conclusión Fue demostrada la equivalencia intercultural y lingüística al Español Chileno del IDVCP-Ch.

ABSTRACT Purpose Perform the cross-cultural equivalence of the Chilean version of the Modern Singing Handicap Index - MSHI, through its cultural and linguistic adaptation. Methods A translation of the MSHI for the Chilean Spanish and the back translation for the Italian was made, and discrepancies were found; a committee of four language pathologist had to resolve any discrepancies and, when found, a consensus must be reached resulting in the final version of the Índice de Desventaja Vocal para Canto Popular - IDVCP-Ch, with the same structure than the original of 30 items and four answers options. The IDVCP-Ch was applied to 25 popular singers. Every item had the option "Not applicable" in order to identify questions that were not comprehended or not appropriate for the concerned population. Nine singers' marked eight items as "Not Applicable", therefore, six of them had its translation adapted. The modified IDVCP-Ch was applied to other 11 popular singers who don't participated of the anterior phase. Results The IDVCP-Ch reflects its original Italian version, both in the number of items and in the limitation of handicap, disability and impairments domains. Conclusion A cross-cultural equivalence od the IDVCP-Ch, was demonstrated for the Chilean Spanish.

The influence of vocal fold mass lesions on the passaggio region of professional singers.

OBJECTIVES/HYPOTHESIS: In professional classical singing, an even voice quality throughout the entire singing voice range is essential. Transitions between vocal registers (passaggio) are the technically most challenging aspects in classical singing. It is hypothesized that they are most affected by vocal fold mass lesions (VFML). STUDY DESIGN: Cohort study. METHODS: In this study, the effect of VFML on vocal fold vibration in the passaggio regions was analyzed in four female and three male singers suffering from organic dysphonia. The singers were asked to sing an ascending glissando through the passaggio regions, before and after treatment. The vocal fold vibration was documented with transnasal endoscopic high-speed imaging recordings at 20,000 frames per second, supplemented by synchronized acoustic and electroglottographic recordings. RESULTS: Major irregularities were found in the passaggio region of four singers before treatment, whereas the respective phonations below the passaggio were almost regular. In two female singers only the upper, but not the lower passaggio was affected. In all four of these participants, the passaggio region was more regular after treatment. In the remaining three participants, the VFML showed no effect on the passaggio region. However, the singers' ability to reach higher pitches was impaired, but was resolved after treatment. CONCLUSIONS: The data in this case study strongly suggest that the passaggio region could be affected by VFML, even if phonation outside the passaggio regions is unimpaired. When planning surgical procedures for professional singers, clinical examination protocols should therefore include phonatory tests across the passaggio regions. LEVEL OF EVIDENCE: 4 Laryngoscope, 127:1392-1401, 2017.

Características da voz falada de idosas com prática de canto coral / Aspects of the speaking voice of elderly women with choral singing experience

RESUMO Introdução Apesar dos vários estudos relacionados à voz na terceira idade e o canto, ainda são necessárias pesquisas que busquem entender os efeitos dessa prática na voz falada de idosos. Objetivo comparar as características da voz falada de idosas com prática de canto coral às de idosas sem essa vivência. Método fizeram parte deste estudo 75 idosas, sendo 50 com prática de canto coral que compuseram o grupo corista (GC) e 25 sem essa prática (GNC), que foram comparadas. Para caracterização das idosas e levantamento de dados referentes aos hábitos de vida e voz, foi aplicado um questionário. Foram coletadas amostras de fala (vogal sustentada, repetição de frases e um trecho de fala espontânea) em uma sala silenciosa com as idosas sentadas. As vozes foram analisadas por três juízes fonoaudiólogos segundo o protocolo Consensus Auditory–Perceptual Evaluation of Voice (CAPE-V). Os dados foram submetidos à análise descritiva e estatística. Resultados as vozes das idosas do GNC apresentaram aumento significativo nos escores relacionados à alteração do grau geral e presença de rugosidade e tensão. Conclusão A análise das características da voz falada de idosas coristas, quando comparada a daquelas que não realizam essa prática, apontou para melhor qualidade vocal no aspecto geral, em decorrência de menor rugosidade e tensão.

ABSTRACT Introduction Despite several studies related to singing and aging voice found in the literature, there is still the need for investigation seeking to understand the effects of this practice in the speaking voice of the elderly. Objective To compare the characteristics of the speaking voice of elderlies with experience in choral singing with those of elderlies without this experience. Method Participants were 75 elderly women: 50 with experience in choral singing - group of singers (SG) and 25 without experience - group of nonsingers (NSG). A questionnaire was applied to characterize the elderly and collect data with respect to lifestyle and voice. Speech samples (sustained vowels, repetition of sentences, and running speech excerpts) were collected in a quiet room in sitting position. The voices were analyzed by three expert speech-language pathologists according to the protocol Consensus Auditory-Perceptual Evaluation of Voice (CAPE-V). Data were submitted to descriptive and statistical analysis. Results The voices of elderly nonsingers (NSG) showed significant increase in scores related to the overall degree of deviance and presence of roughness and strain. Conclusion Analysis of the aspects of the speaking voice of subjects in the SG, compared with that of subjects in the NSG, showed better overall degree of deviance due to lower roughness and strain.

[The acoustic changes of the voice in the singing boys during the permutation period].

The present study was based on the assumption that the determination of the fundamental frequency (Fo) of the speech by means of computer-assisted acoustic analysis makes it possible to detect the onset of vocal mutation in the singing boys. A total of 30 singing boys were available for the examination. They were allocated to two groups. Group 1 was comprised of 15 boys at the age between 11 years 10 months and 12 years 4 months. Group 2 consisted of 15 boys aged between 12 years 10 months and 13 years 2 months. All the participants of the study underwent an acoustic test in combination with indirect laryngoscopy. It was shown that fundamental frequency of the speech in the boys of group 2 was significantly lower than in group 1. The difference amounted to two half-tones and could be regarded as the onset of vocal pre-mutation. It is concluded that the acoustic analysis of the speech should be employed to determine the time of vocal pre-mutation in the singing boys. The singing teachers can use this method all by themselves.

Avaliação dos aspectos temporais em cantores populares / Assessment of temporal aspects in popular singers

RESUMO Objetivo: Avaliar o processamento temporal de cantores populares que tocam ou não instrumento musical. Métodos: O estudo foi composto por 30 cantores populares de bandas baile,15 dos quais cantam e tocam instrumento(s) musical(is) (G1) e 15 apenas cantam (G2). Todos os participantes foram submetidos à realização da avaliação audiológica básica e dos testes do processamento temporal: teste de padrão de frequência (TPF) e teste de detecção de gaps no ruído (GIN). Resultados: Houve diferença estatisticamente significante na comparação do desempenho entre os grupos no que se refere ao limiar de acuidade temporal e percentual de acertos do GIN, bem como no desempenho do TPF, sendo os resultados do grupo de cantores que tocam instrumento musical melhores do que os obtidos pelo grupo que só canta. Conclusão: Cantores populares que tocam instrumentos musicais apresentam melhor desempenho nas habilidades auditivas de resolução e ordenação temporal quando comparados àqueles que só cantam.

ABSTRACT Purpose: To evaluate the temporal processing of popular singers who do or do not play a musical instrument. Methods: The study population comprised 30 popular band singers. Of them, 15 play a musical instrument (G1) and 15 do them do not play a musical instrument (G2). All of them were submitted to basic audiological evaluation and temporal processing tests: test of frequency standard (TFS) and gaps in noise (GIN) detection. Results: Significant differences were observed in performance in the comparison between the groups with regard to the temporal acuity threshold and percentage of correct responses in the GIN, as well as the performance in the TFS. The results of the group of singers who play a musical instrument were found to be better than those of the group that only sings. Conclusion: Popular singers that play musical instruments have a better performance in resolution and temporal ordering auditory skills than singers who do not play an instrument.