The species and physiological diversity of Bifidobacterium genus in Gallus gallus domesticus are influenced by feeding model and niche adaptations.

Species diversity of the Bifidobacterium genus was scarcely explored in different rearing systems of poultry. The aim of the study was to isolate intestinal species and compare their physiological and traits for adaptation to the avian intestinal niche. Fourteen strains isolated from chickens of intensive rearing farms and free-range hens, were identified by 16S rDNA sequencing, rep-PCR fingerprinting, and carbohydrates fermentation. Strains belonged to species Bifidobacterium pseudolongum subsp. pseudolongum and subsp. globosum, B. pullorum, B. animalis subsp lactis, B. boum, B. thermacidophilum subsp. thermacidophilum and B. thermophilum. One strain of B. animalis and B. pullorum, and two of B. pseudolongum subsp. pseudolongum were obtained from chicks, while the others were from free-range adult hens. Growth (in MRSc) at the poultry physiological temperature, acids production in caecal water with raffinose (rCW), ex vivo adhesion (%) to avian intestinal epithelial cells (IEC), and auto-aggregation (%) were used for discrimination inter- and intra-specific. Significantly different acetic and lactic acids production and growth temperatures were observed in strains of the same species/subspecies. Remarkable auto-aggregation capability was observed in B. thermacidophilum subsp. thermacidophilum LET 406 (40.2 ± 1.1%), while adhesion property was highlighted in B. pseudolongum subsp. pseudolongum LET 408 (65.30 ± 4.75% in jejunum; 46.05 ± 2.80 in ileum). Scanning Electronic Microscopy of the interaction IEC-LET 408 revealed an irregular bacterial surface exhibiting vesicle-like arrangements and filaments that formed a network among bacteria cells and with the epithelial cells, as possible adaptative response to promote its persistence in the gut. These finds will be valuable for bacterial supplements design intended to intensive rearing.

Dysphonia and Throat Clearing in Singers During the COVID-19 Pandemic in Brazil.

OBJECTIVE: The COVID-19 pandemic in Brazil affected the lives of singers, with negative impacts of the disease on the voice, such as dysphonia and throat clearing. This study aims to evaluate the presence of dysphonia and throat clearing in singers during the COVID-19 pandemic in Brazil. MATERIAL AND METHODS: This is a cross-sectional analytical study with a sample of 154 singers from all over Brazil. Data collection was carried out online, by completing the questionnaire created by the researcher using Google Forms. The following were considered the outcome variables: voice impairment and throat clearing. The bivariate analysis was performed to test the relationship between COVID-19 infection and voice impairment, COVID-19 infection and throat clearing, COVID-19 infection and laryngeal complaints (voice impairment and throat clearing). RESULTS: In this study, the mean age of the singers was 35.8 (Standard deviation = ±10.2 years) and 59.2% were female. Most of them worked as professional singers (81.1%) and had more than 10 years of professional experience (57.4%), mainly singing pop music (85.4%). A total of 62% reported vocal alterations during the COVID-19 infection and 53% had vocal alterations after the infection, with 44.0% reporting the onset of throat clearing after the infection. There was a significant association between COVID-19 infection and having voice impairment (P = 0.03; prevalence ratio - PR: 2.33; CI: 1.04-5.46). An association was observed between the onset of throat clearing and the occurrence of COVID-19 infection (P = 0.001; PR: 9.13; CI: 2.47-64.42). CONCLUSIONS: The results indicated that there is an association between COVID-19 infection and complaints of dysphonia and throat clearing in Brazilian singers. This study demonstrates the importance of guidance to singers infected with COVID-19 by health voice processionals.

Belting in English is Easier Than It is in Portuguese.

Belting singers receiving care at the speech therapy service mentioned they find it easier to sing in American English than in Brazilian Portuguese. OBJECTIVE: to assess and compare the production of vowels and consonants of excerpts from musicals in Portuguese and English. METHODS: a phonological and phonetic analysis of the same excerpt from musicals was performed in both languages. RESULTS: We have observed that the predominance of fricatives in English and plosives in Portuguese explains the fluidity of singing in English and a greater disruption of speech fluidity in Portuguese. CONCLUSION: therefore, belting in English is easier than it is in Portuguese.

What do Sopranos and Singing Teachers Think About Upper High Range Notes?

BACKGROUND: Despite being widely used by professional sopranos, the emission of upper high range notes is still a subject of considerable controversy both to those who use them and those who study them. OBJECTIVE: To compare the opinion of sopranos and singing teachers on the emission of upper high range notes. MATERIAL AND METHODS: The participants were asked to answer a questionnaire with objective questions on the emission of upper high range notes and indicate technical aspects involved in their production (singing teachers) and proprioceptive sensations during their emission (sopranos). RESULTS: The sample consisted of 24 sopranos who were, on average, 28 years old and had 9.08 years of a professional career and singing teachers were, on average, 41 years and had 20 years of professional experience. The questionnaire used was considered reliable (pilot Cronbach's alpha = 0.88). There was no statistically significant difference in breath support, tongue positioning, and body adjustments. The differences that were found regarded laryngeal vertical movement (P= 0.02), articulatory pattern (horizontal mouth widening, P= 0.03; and "imagining a smile," P= 0.02), and auditory aspects (decrease in voice volume, P= 0.03; reduction in voice "size," P= 0.03; and change in voice brightness, P= 0.02). CONCLUSION: The proprioceptive description of the sopranos differs from the recommendations described by singing teachers with respect to the larynx movement, articulation, and auditory perception. These findings suggest that the emission of upper high range notes requires individualized adjustments for the emission to occur with good vocal quality and comfortably.

Methadone Destabilizes Cardiac Repolarization During Sleep.

Methadone, a widely prescribed medication for chronic pain and opioid addiction, is associated with respiratory depression and increased predisposition for torsades de pointes, a potentially fatal arrhythmia. Most methadone-related deaths occur during sleep. The objective of this study was to determine whether methadone's arrhythmogenic effects increase during sleep, with a focus on cardiac repolarization instability using QT variability index (QTVI), a measure shown to predict arrhythmias and mortality. Sleep study data of 24 patients on chronic methadone therapy referred to a tertiary clinic for overnight polysomnography were compared with two matched groups not on methadone: 24 patients referred for overnight polysomnography to the same clinic (clinic group), and 24 volunteers who had overnight polysomnography at home (community group). Despite similar values for heart rate, heart rate variability, corrected QT interval, QTVI, and oxygen saturation (SpO2 ) when awake, patients on methadone had larger QTVI (P = 0.015 vs. clinic, P < 0.001 vs. community) and lower SpO2 (P = 0.008 vs. clinic, P = 0.013 vs. community) during sleep, and the increase in their QTVI during sleep vs. wakefulness correlated with the decrease in SpO2 (r = -0.54, P = 0.013). QTVI positively correlated with methadone dose during sleep (r = 0.51, P = 0.012) and wakefulness (r = 0.73, P < 0.001). High-density ectopy (> 1,000 premature beats per median sleep period), a precursor for torsades de pointes, was uncommon but more frequent in patients on methadone (P = 0.039). This study demonstrates that chronic methadone use is associated with increased cardiac repolarization instability. Methadone's pro-arrhythmic impact may be mediated by sleep-related hypoxemia, which could explain the increased nocturnal mortality associated with this opioid.

A voz do cantor Roberto Carlos: avaliação perceptivo-auditiva de canções de diferentes décadas / The voice of Brazilian singer Roberto Carlos: auditory-perceptual assessment of songs from different decades / La voz del cantante brasileño Roberto Carlos: evaluación perceptivo auditiva de canciones de diferentes décadas

Objetivo: Descrever a voz do cantor Roberto Carlos por meio de avaliação perceptivo-auditiva de parâmetros determinados em canções escolhidas que foram lançadas ao longo das décadas de 60 a 90. Métodos: Oito canções representativas da carreira do cantor foram selecionadas para a avaliação perceptivo-auditiva descritiva da voz, sendo duas delas de cada década. Resultados: Roberto Carlos manteve a coordenação pneumofonoarticulatória, loudness variou de adequada para forte; pitch variou de médio para agudo a médio; articulação precisa; ataque vocal variou de brusco para suave; voz sem brilho; a ressonância laringofaríngea teve maior variação, sendo esta com foco nasal compensatório, com foco nasal acentuado e com foco nasal discreto, registro vocal modal peito, sem projeção, vibrato ausente, tessitura restrita, qualidade vocal adaptada, adaptada com tensão, e adaptada com discreta soprosidade. Conclusão: Na avaliação perceptivo-auditiva algumas características se mantiveram inalteradas, como coordenação pneumofonoarticulatória, a articulação precisa, o registro vocal modal de peito, a voz sem brilho e sem projeção, a ausência de vibrato e a tecitura restrita. Houve variação em relação ao pitch, a loudness, o ataque vocal a ressonância foi caracterizada laringofaríngea com variações em relação ao foco nasal. As maiores mudanças observadas na voz do cantor no decorrer das décadas recaem sobre a variação de gêneros musicais cantados pelo cantor.

Purpose: To describe the voice of the singer Roberto Carlos through auditory-perceptual assessment of certain parameters in selected songs that were released between the 1960s and 1990s. Methods: Eight songs representative of the singer's career, two of them from each decade, were selected for the descriptive auditory-perceptual assessment of the voice. Results: As noticed in the study, Roberto Carlos maintained pneumophonoarticulatory coordination; loudness ranged from adequate to strong; pitch ranged from medium to high to medium; precise articulation; vocal attack ranged from abrupt to mild; dull voice; laryngopharyngeal resonance had a greater variation, including compensatory nasal focus, with increased nasal focus and discrete nasal focus, modal chest record, without projection, no vibrato, restricted tension, adapted vocal quality, adapted with tension, and adapted with slight breathiness. Conclusion: In the auditory-perceptual evaluation, some characteristics remained unchanged, such as pneumophonoarticulatory coordination, the precise articulation, the modal vocal registration of the chest, without projection, the absence of vibrato and the restricted tension. There was variation in relation to pitch, loudness, vocal attack and resonance was characterized as laryngopharyngeal with variations in relation to nasal focus. The main changes noticed in the singer's voice over the decades have been reported in the variation of musical genres presented by the singer.

Objetivo: Evaluación perceptiva auditiva de la voz de Roberto Carlos en canciones seleccionadas a lo largo de los años 60 y 90. Métodos: Para la evaluación se seleccionaron ocho canciones representativas de la trayectoria del cantante, dos canciones de cada década. Resultados: Roberto Carlos mantuvo la coordinación fonatoria, el volumen varió de adecuado a fuerte, el tono varió de medio a agudo a medio; articulación precisa; el ataque vocal varió de repentino a leve; voz apagada; la resonancia laringofaríngea tuvo mayor variación, con enfoque nasal compensatorio, con enfoque nasal acentuado y enfoque nasal discreto, registro vocal modal, sin proyección, vibrato ausente, tensión, calidad vocal adaptada, adaptada con tensión, adaptada con ligera soprosidade. Conclusión: En la evaluación auditivo-perceptual, algunas características se mantuvieron sin cambios, como la coordinación fhonatoria, la articulación precisa, el registro vocal modal del tórax, la voz apagada y sin proyección, la ausencia de vibrato y el tejido restringido. Hubo variación en relación al tono, volumen, ataque vocal y la resonancia se caracterizó como laringofaríngea con variaciones en relación al enfoque nasal. Las más grandes variaciones observadas en la voz del cantante se relacionan con las variaciones de los estilos musicales cantados entre las décadas.

Effects of topical application of 0.4% oxybuprocaine hydrochloride ophthalmic solution and 1% ropivacaine hydrochloride on corneal sensitivity in rats.

The aim of the present study was to determine and compare the degree and duration of corneal anesthesia following topical application of 0.4% oxybuprocaine hydrochloride ophthalmic solution and 1% ropivacaine hydrochloride treatment in healthy rats. A randomized, blinded, crossover study was conducted on 20 healthy adult Wistar rats, following complete physical and ophthalmological examination. Baseline corneal touch threshold (CTT) was determined in the central corneal area of both eyes with a Cochet-Bonnet aesthesiometer, in mm filament length. Oxybuprocaine was randomly applied to one eye and 0.9% sterile sodium chloride solution was instilled into the contralateral eye. Subsequent CTT measurements were performed in both eyes 5 minutes after topical application and at 5-minute intervals thereafter for 75-minutes in the anesthetized eye. Following a 2-week washout period, this protocol was repeated with ropivacaine. Quantitative data were summarized as mean ± standard deviation, median and inter-quartile range (Q1-Q3). Repeated measures data were analyzed over time and between treatments using Friedman test and Wilcoxon signed-rank test with Bonferroni adjustment (p < 0.05). Baseline CTT values were 60 mm in all eyes. With oxybuprocaine, CTT values decreased significantly for 65 minutes (0-55 mm; p = 0.002) when compared with baseline; the maximal anesthetic effect (no blink response at 5 mm filament length) was maintained for up to 15 minutes (p < 0.0001). With ropivacaine, CTT values were significantly lower than baseline for 30 minutes (0-55 mm; p = 0.002), with a maximal anesthetic effect recorded at 5 minutes in 18 eyes (p < 0.0001). Oxybuprocaine induced a significantly lower CTT than ropivacaine (p = 0.002) from 10 to 65 minutes following topical application. Both anesthetic agents induced significant corneal anesthesia; however, oxybuprocaine provided a greater and longer anesthetic effect, making it more suitable for potentially painful ophthalmologic procedures.

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

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.

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.

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.

The taping method effects on the trapezius muscle in healthy adults. / Os efeitos da bandagem elástica no músculo trapézio em adultos saudáveis.

PURPOSE: To verify the elastic therapeutic tape effects on the trapezius muscle in healthy adults, using data from surface electromyography and a self-reported questionnaire. METHODS: A total of 51 across sex healthy adults were enrolled in this study, whose age range was 20 to 35 years.. The individuals were divided into three groups: G1, who wore the elastic therapeutic tape applied with tension; G2, who wore the elastic therapeutic tape applied with no tension; and G3, control group, who did not wear the elastic therapeutic tape. The elastic therapeutic tape was bilaterally applied on the trapezius muscle. For measuring results, surface electromyography signals were collected before, while and after the elastic therapeutic tape was worn, and a qualitative questionnaire was applied. RESULTS: There were no significant differences in either pre- or post-electromyography findings within each group, or when groups were compared. When comparing G1 and G2 moments before and while the elastic therapeutic tape was worn, a statistically significant difference was noted during the maximum voluntary contraction variable on the individuals' left side. When answering the questionnaire, most individuals mentioned a relaxing feeling while wearing the elastic therapeutic tape. CONCLUSION: The individuals wearing the elastic therapeutic tape in this sample did not present any significant differences during the surface electromyography assessment. As for the questionnaire, most of the individuals investigated reported a relaxing feeling after wearing the elastic therapeutic tape.

OBJETIVO: Verificar o efeito da bandagem elástica no músculo trapézio, por meio da eletromiografia e de um questionário autorreferido em adultos saudáveis. MÉTODO: Participaram 51 adultos saudáveis, de ambos os sexos, na faixa etária entre 20 e 35 anos. Os sujeitos foram divididos em três grupos: G1, que utilizou a bandagem elástica com tensão; G2, que utilizou a bandagem elástica sem tensão; e G3, grupo controle, que não utilizou a bandagem. A aplicação da bandagem ocorreu no músculo trapézio, bilateralmente. Para a mensuração dos resultados, foram coletados sinais eletromiográficos antes, durante e depois do uso da bandagem, e foi aplicado um questionário qualitativo. RESULTADOS: Não houve diferenças significativas nos achados eletromiográficos antes e depois do uso da bandagem, em cada grupo e na comparação entre os grupos. Na confrontação G1 com G2, nos momentos antes e durante o uso da bandagem, foi verificada uma diferença estatisticamente significante na variável contração voluntária máxima do lado esquerdo. No questionário, a maioria dos sujeitos relatou sensação de relaxamento com o uso da bandagem. CONCLUSÃO: Os sujeitos da amostra que utilizaram a bandagem não apresentaram diferenças estatisticamente significantes na eletromiografia. Em relação ao questionário, a maioria dos sujeitos pesquisados afirmou sensação de relaxamento após o uso da bandagem.

Popular and Classical Female Singers: Acoustic Comparison of Voice Use in the Song Melodia Sentimental (Sentimental Melody) by Heitor Villa-Lobos.

OBJECTIVE: This study aims to compare acoustic characteristics of classical and popular female singers' vocal performances in Heitor Villa-Lobos' Melodia Sentimental (Sentimental Melody). METHOD: Long-term average spectrum acoustic analysis and long-term voice onset time (VOT) were performed for two consonants /d/ in the first six verses of Melodia Sentimental sang by 10 professional singers: five classical (GC) and five popular (GP). RESULTS: Classical singers presented prominence in the region of the frequencies between 2.5 and 3.5 kHz, not observed in the majority of the popular singers' group. The GC group showed lighter spectral decline curves and the numerical value of decline was also lower. Classical singers presented lower long-term voice onset time values, which indicates a longer period of glottic closure. CONCLUSION: Acoustic analysis revealed that classical singers have more energy in glottic closure associated with a shorter duration of glottic coaptation.

Os efeitos da bandagem elástica no músculo trapézio em adultos saudáveis / The taping method effects on the trapezius muscle in healthy adults

RESUMO Objetivo Verificar o efeito da bandagem elástica no músculo trapézio, por meio da eletromiografia e de um questionário autorreferido em adultos saudáveis. Método Participaram 51 adultos saudáveis, de ambos os sexos, na faixa etária entre 20 e 35 anos. Os sujeitos foram divididos em três grupos: G1, que utilizou a bandagem elástica com tensão; G2, que utilizou a bandagem elástica sem tensão; e G3, grupo controle, que não utilizou a bandagem. A aplicação da bandagem ocorreu no músculo trapézio, bilateralmente. Para a mensuração dos resultados, foram coletados sinais eletromiográficos antes, durante e depois do uso da bandagem, e foi aplicado um questionário qualitativo. Resultados Não houve diferenças significativas nos achados eletromiográficos antes e depois do uso da bandagem, em cada grupo e na comparação entre os grupos. Na confrontação G1 com G2, nos momentos antes e durante o uso da bandagem, foi verificada uma diferença estatisticamente significante na variável contração voluntária máxima do lado esquerdo. No questionário, a maioria dos sujeitos relatou sensação de relaxamento com o uso da bandagem. Conclusão Os sujeitos da amostra que utilizaram a bandagem não apresentaram diferenças estatisticamente significantes na eletromiografia. Em relação ao questionário, a maioria dos sujeitos pesquisados afirmou sensação de relaxamento após o uso da bandagem.

ABSTRACT Purpose To verify the elastic therapeutic tape effects on the trapezius muscle in healthy adults, using data from surface electromyography and a self-reported questionnaire. Methods A total of 51 across sex healthy adults were enrolled in this study, whose age range was 20 to 35 years.. The individuals were divided into three groups: G1, who wore the elastic therapeutic tape applied with tension; G2, who wore the elastic therapeutic tape applied with no tension; and G3, control group, who did not wear the elastic therapeutic tape. The elastic therapeutic tape was bilaterally applied on the trapezius muscle. For measuring results, surface electromyography signals were collected before, while and after the elastic therapeutic tape was worn, and a qualitative questionnaire was applied. Results There were no significant differences in either pre- or post-electromyography findings within each group, or when groups were compared. When comparing G1 and G2 moments before and while the elastic therapeutic tape was worn, a statistically significant difference was noted during the maximum voluntary contraction variable on the individuals' left side. When answering the questionnaire, most individuals mentioned a relaxing feeling while wearing the elastic therapeutic tape. Conclusion The individuals wearing the elastic therapeutic tape in this sample did not present any significant differences during the surface electromyography assessment. As for the questionnaire, most of the individuals investigated reported a relaxing feeling after wearing the elastic therapeutic tape.

Cantar "rasgando a voz" pode ser uma prática saudável? / Can singing with rasp be a healthy practice? / Cantar "rasgando la voz" puede ser una práctica sana?

Cantar com a voz distorcida ou rasgada como é mais conhecido popularmente é comum em diversas formas de canto e não apenas no rock. As chamadas distorções vocais intencionais estão presentes na música há muitos anos e nas mais diversas culturas humanas. Mesmo assim esses tipos de produção ainda esbarram em preconceitos no sentido de se considerar, sem comprovação científica, que são prejudiciais à saúde vocal. O objetivo desta comunicação foi refletir sobre as distorções vocais intencionais no canto em um diálogo entre a Música e os campos que estudam a voz cantada como a Fonoaudiologia e a Laringologia. Na perspectiva de expandir o conhecimento sobre essas formas de emissão e relacionar as pesquisas que investigaram o assunto.

Singing with a distorted or raspy voice as it is most popularly known is usual in many forms of singing besides rock. The so-called intentional voice distortions have been present in music for many years and in the most diverse human cultures. Even so, these types of production still run into prejudices in the sense of considering, without scientific evidence, that they are harmful to vocal health. The goal of this communication was to reflect on the intentional voice distortions in singing in a dialogue between Music and the fields that study the singing voice as Speech Language Pathology and Laryngology. In order to expand the knowledge on these types of vocalizations and to relate the researches that investigated the subject.

Cantar con la voz distorsionada o rasgada como es más conocido popularmente es común en diversas formas de canto y no sólo en el rock. Las llamadas distorsiones vocales intencionales están presentes en la música desde hace muchos años y en las más diversas culturas humanas. Sin embargo, estos tipos de producción todavía tropiezan en prejuicios en el sentido de considerar, sin comprobación científica, que son perjudiciales para la salud vocal. El objetivo de esta comunicación fue reflexionar sobre las distorsiones vocales intencionales en el canto en un diálogo entre la Música y los campos que estudian la voz cantada como la Fonoaudiología y la Laringología. En la perspectiva de expandir el conocimiento sobre esas formas de emisión y relacionar las investigaciones que investigaron el asunto.

Comparison of plosive sounds in monolingual and bilingual children, using the voice onset time acoustic parameter: cases report / Comparação de sons plosivos em crianças monolíngues e bilíngues por meio do parâmetro acústico voice onset time: relato de casos

ABSTRACT The purpose was to compare differences in production of plosive phonemes through the voice onset time (VOT) measurement in the speech of monolingual children, speakers of Brazilian Portuguese and bilingual children, speakers of both Brazilian Portuguese and English. The sample consisted of three monolingual children and three bilingual children; average age was 7 years. A speech emission was recorded for the investigation, which had the following vehicle phrase: "Diga 'papa' baixinho" ("Say 'papa' quietly"). Papa was then replaced by "baba", "tata", "dada", "caca" and "gaga". The measurements of the acoustic signals were performed through broadband spectrograms, and VOT was descriptively analyzed for the non-voiced sounds [p, t, k] and voiced [b, d, g] plosive sounds. Monolingual children presented higher average VOT values for [p, t, k] compared to bilingual children. For the [b, d, g] sounds, monolingual children had lower average VOT values, as compared to bilingual children. It was concluded that in the comparison of VOT measures of the speech samples, the monolingual children of Brazilian Portuguese presented higher values for the non voiced ones and lower for the voiced ones in relation to the bilingual children speakers of Brazilian Portuguese and English.

RESUMO O objetivo foi comparar as diferenças na produção de fonemas plosivos por meio da medida acústica voice onset time a partir da amostra de fala de três crianças monolíngues do português brasileiro e três bilíngues do português brasileiro e do inglês, na faixa etária de sete anos. Para isso foi gravada uma emissão de fala com a repetição da frase veículo "Diga papa baixinho", com a gravação posterior da substituição de papa por "baba, tata, dada, caca e gaga". As medidas do sinal acústico foram realizadas por meio do espectrograma de banda larga e o voice onset time (VOT) analisado de forma descritiva para os sons não vozeados [p, t, k] e para os vozeados [b, d, g]. Como resultados, os valores do VOT de [p, t, k] das crianças monolíngües apresentaram médias superiores em relação aos valores das crianças bilíngues. Para os sons [b, d, g] as crianças monolíngues mostraram valores de VOT com médias inferiores em relação às bilíngues. Concluiu-se que na comparação das medidas de VOT das amostras de fala as crianças monolíngues do português brasileiro apresentaram valores maiores para as não vozeadas e menores para as vozeadas em relação as das crianças bilíngues do português brasileiro e do inglês.

Association between voice disorder and breathing alteration in children / Associação entre distúrbio de voz e alteração da respiração em crianças

ABSTRACT Objective: to analyze the association between voice disorder and aspects related to breathing mode in children, according to sex. Methods: 250 children, aged six to nine years, attending a public school in São Paulo city, were selected. The collection consisted of spontaneously audio recorded speech samples. The breathing mode was evaluated for lip resting posture and nasal flow. Three audiologists performed the perceptual evaluation of the voice quality, with the help of GIRBAS scale. The results were associated using the chi-square test (p = 0.05). Results: 50.4% females and 49.6% males. As for the overall grade (G), 12.8% had voice disorder with respect to voice quality. In the breathing mode, 36.8% presented alterations in lip posture and 71.2%, in nasal flow. The associations between voice disorder and gender (p = 0.96), lip posture (p = 0.38) and nasal flow (p = 0.18) and between alterations in the nasal flow and sex (p = 0.449) were not confirmed. The association between lip posture and sex revealed significant differences in favor of males (p = 0.003). Conclusion: there was no statistically significant difference associating voice disorders with breathing mode (lip posture and nasal flow) and gender.

RESUMO Objetivo: analisar a associação entre distúrbio de voz e aspectos referentes ao modo respiratório, em crianças, segundo sexo. Métodos: foram selecionadas 250 crianças, na faixa etária de seis a nove anos, de uma escola pública da cidade de São Paulo. A coleta constou de amostras áudio gravadas de fala espontânea. O modo respiratório foi avaliado quanto à postura de lábios e fluxo nasal. Três juízas fonoaudiólogas realizaram a avaliação perceptivo-auditiva das vozes quanto à qualidade vocal, com o auxílio da escala GIRBAS. Os achados foram associados, utilizando-se o teste do qui-quadrado (p=0,05). Resultados: 50,4% do sexo feminino e 49,6% sexo masculino. Quanto ao grau geral (G), 12,8% apresentaram distúrbio de voz com relação à qualidade vocal. No modo respiratório, 36,8% apresentaram alteração quanto à postura labial e 71,2%, quanto ao fluxo nasal. Não foi confirmada a associação entre distúrbio da voz e sexo (p=0,96), postura de lábios (p=0,38) e fluxo nasal (p=0,18), assim como entre alteração do fluxo nasal e sexo (p=0,449). A associação entre postura labial e sexo evidenciou diferença significativa a favor do masculino (p=0,003). Conclusão: não houve associação entre o distúrbio de voz e a alteração da respiração, contudo, houve associação entre alteração da postura labial e sexo.

Relações entre autopercepção vocal e psiquismo em um grupo de adolescentes do sexo masculino na muda vocal / Relations between vocal self-perception and psyche in a group of male adolescents undergoing physiological voice change / Relaciones entre autopercepción vocal y psiquismo en un grupo de adolescentes del sexo masculino en la muda vocal

Objetivo: Analisar as relações entre autopercepção vocal e psiquismo em um grupo de adolescentes do sexo masculino na muda vocal. Método: Estudo qualitativo em que participaram seis adolescentes com idades entre 13 anos e 5 meses e 14 anos e 11 meses na fase de muda vocal, que frequentavam a 8ª série do ensino fundamental de uma escola da rede pública na cidade de São Paulo. Os procedimentos foram: avaliação perceptivo auditiva da voz, aplicação do instrumento Termos Descritivos para a Voz (TDV) para descrever a percepção dos sujeitos em relação à voz, antes e após intervenção grupal e descrição do grupo focal que abordou os seguintes temas: adolescência e mudanças pubertárias, processo de muda vocal e suas repercussões na imagem corporal e reverberações identitárias (orgânicas, subjetivas e sociais) decorrentes da adolescência. A análise do material consistiu na categorização de núcleos de sentido cujas ocorrências foram consideradas relevantes para o objetivo da pesquisa. Resultados: Predominaram sensações de estranhamento/incômodo sobre a vivência do adolescer, geradas pelas novas demandas afetivas e comportamentais. Os sujeitos relataram dificuldades de adaptação às mudanças corporais, salientando as alterações na qualidade vocal e seu impacto negativo nos interlocutores. Nos resultados do TDV predominam os aspectos psicossociais relativos a esse impacto. Os atributos vocais negativos aumentaram na aplicação pós-intervenção. Conclusão: Os resultados evidenciam que as mudanças no padrão da voz dos adolescentes pesquisados reverberam em seu funcionamento psíquico e geram impacto na autopercepção vocal dos mesmos, reafirmando assim o caráter biopsíquico inerente à voz humana.

Purpose: To analyze the relation between vocal self-perception and psyche in a group of male adolescents undergoing voice change. Method: Qualitative study involving six teenagers aged between 13 years and 5 months and 14 years and 11 months undergoing voice changes, 8th grade students of a public school in São Paulo. The procedures were: perceptive auditory vocal assessment, completion of the Descriptive Terms for Voice (TDV) to describe the subjects' perception of their voices before and after the intervention group and a description of the focus group that addressed the following issues: adolescence and pubertal changes, process of vocal changes and their impact on body image and identity reverberations (organic, subjective and social) arising from adolescence. The data were analyzed through categorization of meanings that were considered relevant for the purpose of this study. Results: There were predominant feelings of estrangement / discomfort concerning the experience of adolescence, generated by new affective and behavioral demands. The subjects reported difficulties in adapting to body changes, especially changes in vocal quality and its negative impact on their conversation partners. The results of the TDV show that the psychosocial aspects of this impact are predominant. The negative vocal attributes increased after intervention. Conclusion: The results show that changes in the adolescents' vocal pattern reverberate in their psychic functioning and generate impact in the vocal self-perception, thus reaffirming the biopsychic character that is inherent to the human voice.

Objetivo:Analizar las relaciones entre autopercepción vocal y psiquismo en un grupo de adolescentes del sexo masculino en la muda vocal. Método: Estudio cualitativo con seis adolescentes con edades entre 13 años y 5 meses y 14 años y 11 meses en la fase de muda vocal, que cursaban el 8º año de la enseñanza fundamental de una escuela de la red pública en São Paulo. Los procedimientos fueron: evaluación perceptivo auditiva de la voz, aplicación del instrumento Términos Descriptivos para a Voz (TDV) para describir la percepción de los sujetos con relación a la voz, antes y después de intervención grupal y descripción del grupo focal que trató de los temas: adolescencia y cambio en la pubertad, proceso de muda vocal y sus repercusiones en la imagen corporal y reverberaciones de identidad (orgánicas, subjetivas y sociales) de la adolescencia. El análisis del material se consistió en la categorización de núcleos de sentido cuyas incidencias fueron consideradas relevantes para el objetivo de la investigación. Resultados: Fueran predominantes las sensaciones de extrañeza/incómodo con la vivencia adolescente, generadas por las nuevas demandas afectivas y comportamentales. Los sujetos relataran dificultades de adaptación a los cambios corporales, destacando las alteraciones en la calidad vocal y su impacto negativo sobre los interlocutores. En los resultados del TDV predominaron los aspectos psicosociales concernientes a ese impacto. Los atributos vocales negativos aumentaron en la aplicación pos-intervención. Conclusión: Los resultados evidencian que los cambios en el padrón de voz de los adolescentes reverberan en su funcionamiento psíquico y generan impacto en su autopercepción vocal, reafirmando así el carácter biopsíquico inherente a la voz humana.

Tabagismo e ingesta alcoólica: prevalência em professores, cantores, teleoperadores e atores / Smoking and alcohol intake: prevalence among teachers, singers, telemarketers and actors / El tabaco y la ingesta de alcohol: prevalencia en los profesores, cantantes, actores y teleoperadores

Objetivo: analisar a prevalência e associação de tabagismo e ingesta alcoólica em professores, cantores, teleoperadores e atores, segundo sexo e idade. Métodos: participaram da pesquisa 400 sujeitos, sendo 100 de cada uma das profissões, a saber: professores, cantores, teleoperadores e atores. Todos responderam o Questionário de Identificação de Hábitos de Saúde Vocal em Profissionais da Voz. As questões referentes a tabagismo e consumo de álcool foram associadas às categorias profissionais, sexo e idade (qui-quadrado p<0,05). Resultados: 233 (58,25%) sujeitos eram do sexo feminino e 167 (41,75%) do masculino. A idade variou entre 18 e 50 anos. A maioria dos professores e dos teleoperadores eram do sexo feminino e em contrapartida, a maioria dos cantores e atores, do masculino. 19,75% (n=79) eram tabagistas, e a maioria dos tabagistas pertencia ao grupo de teleoperadores (n=26/ 6,5%). Do total de participantes, 44,5% (n=178) revelaram consumir álcool, a categoria dos atores registrou a maior porcentagem (n=58/14,5%). Observou-se diferença estatisticamente significante na comparação entre tabagismo e sexo nos grupos de cantores (p<0,002) e teleoperadores(p<0,02), e ingesta alcóolica e idade nos teleoperadores (p<0,03). Conclusão: o percentual de profissionais da voz que fuma e que ingere bebida alcoólica varia de acordo com a categoria analisada, os teleoperadores são os que mais fumam e os atores os que mais bebem. Na associação dessas variáveis com sexo e idade foi registrada diferença significante no grupo de teleoperadores (masculino e mais jovem em maior número) e cantores (masculino em maior número).

Objective: To assess the prevalence and relation of smoking and alcohol intake among teachers, singers, telemarketers, and actors, according to gender and age. Methods: 400 individuals were included in the research, of which there were 100 participants of each of the professions, namely: teachers, singers, telemarketers and actors. All responded the Questionnaire for the Identification of Vocal Health Habits in Voice Professionals. Statistic analysis crossed professional categories, gender and age with smoking and alcohol intake (p<0,05). Results: The research included 233 (58.25%) females and 167 (41.75%) males. The ages ranged from 18 to 50 years. Most of the teachers and telemarketers were female and, on the other hand, most of the singers and actors were male. 19.75% (n=79) were smokers, of which most were from the group of telemarketers (n=26/ 6.5%). With respect to the alcohol consumption, 44.5% (n=178) of the individuals responded that they consume alcohol, while the actors group recorded the highest percentage (n=58/ 14,5%). A statistically significant difference was observed in the comparison between smoking and gender in singers (p<0.002) and telemarketers (p<0.02) groups, and alcohol intake and age in telemarketers (p<0.03) group. Conclusion: The percentage of voice professionals who smoke and consume alcohol varies according to the category analyzed, i.e., the telemarketers were the group with more smokers, and actors were the group that presented more individuals who consume alcohol. A statistically significant difference was noted in telemarketers (male and younger in greater numbers) and singers (men outnumber) groups in the association of these variables with gender and age.

Objetivo: Analizar la prevalencia y la asociación de fumar y el consumo de alcohol en profesores, cantantes, teleoperadores, y actores, por sexo y edad. Método: 400 sujetos participaron en el estudio, 100 de cada una de las profesiones. Todos responderan el "Questionário de Identificação de Hábitos de Saúde Vocal em Profissionais da Voz". Las cuestiones referentes al tabaquismo y el consumo de alcohol se asociaron a las categorías profesionales, sexo y edad (qui-cuadrado p <0,05) Resultados: 233 (58.25%) sujetos eran mujeres y 167 (41,75%) eran hombres. Las edades oscilaron entre 18 y 50 años. La mayoría de los profesores y los teleoperadores eran de sexo femenino, la mayoría de los cantantes y actores masculinos. 19,75% (n = 79) eran fumadores, la mayoría del grupo de los teleoperadores (n = 26 / 6,5%). En relación a alcohol 44.5% (n = 178) de los sujetos reveló consumir-lo, la categoría de actores que registró el porcentaje más alto (n = 58 / 14,5%) se observó una diferencia estadísticamente significativa en comparación entre el tabaquismo y el sexo en los grupos de cantantes (p <0,002) y teleoperadores (p<0,02). Em la comparacion de la ingesta de alcohol y la edad de los teleoperadores tambien se registro diferencia estadísticamente significativa (p <0,03). Conclusión: el porcentaje de profesionales que fuman y beben alcohol varía en función de la categoría analizada, los teleoperadores fuman más, y los actores beben más que los demas. Em la asociación de estas variables con la edad y el sexo se registró diferencia significativa en el grupo de los teleoperadores (masculino y jovenes em mayor número) y cantantes (masculino en mayor número).

Comunicação não verbal com profissionais da voz: o que se pesquisa na fonoaudiologia / Voice professionals' non-verbal communication: what has it been researching in speech language pathology?

RESUMO A comunicação não verbal é parte da comunicação e está sempre presente de maneira intencional ou não. Pode influenciar, segundo alguns autores, mais de 90% a expressividade na relação dialógica. Cada gesto, cada olhar é uma valiosa fonte de informação sobre a emoção que acontece no momento da comunicação. Como o fonoaudiólogo atua com a comunicação, para um trabalho efetivo ele deve procurar trabalhar aspectos da comunicação não verbal e verbal, sempre associados. Foi realizada uma revisão de literatura entre os anos de 2005 e 2015 nas principais revistas científicas, nacionais, da Fonoaudiologia: Revista CEFAC, Revista Distúrbios da Comunicação - DIC, Pró-Fono - Revista de atualização Científica, Jornal da Sociedade Brasileira de Fonoaudiologia, CoDAS, Revista da Sociedade Brasileira de Fonoaudiologia e Audiology Communication Research - ACR. A busca pelos números e a análise das publicações sobre voz de todas as revistas foi feita dentro da página da plataforma de busca em saúde Scientific Electronic Library Online - SciELO. Foram encontrados 342 artigos sobre voz. 176 eram sobre profissionais da voz dos quais apenas oito abordavam o tema comunicação não verbal. Desses, três se referiam aos profissionais de rádio e TV, dois artigos sobre professores, dois sobre atores e um sobre estudante universitário. Observou-se que, apesar da relevante importância da comunicação não verbal no processo comunicacional, não há muitas publicações fonoaudiológica sobre não verbal e profissionais da voz.

ABSTRACT Non-verbal communication is part of communication and regardless intention, is always present. According to some authors, expressiveness may influence over 90% of a dialogic relationship. Each gesture or look is valuable source of information about the emotion while communicating. Speech-language Pathologist (SLP) is the professional that must seek all aspects of communication, verbal and non-verbal, altogether. Literature review was performed among the years of 2005 and 2015 in the main national SLP scientific periodic: Revista CEFAC, Journal of Communication Disorders - DIC, Pro-Fono - Revista de Atualização Científica, Journal of the Brazilian Society of Speech, Codas, Journal of the Brazilian Society of Speech Pathology and Audiology Communication Research - ACR. The SciELo - Scientific Electronic Library Online - was the platform used to look for the voice papers. 342 voice papers were found. 176 were about voice professionals and, from these only eight addressed non-verbal communication. From the eight, three were about radio and television professionals, two about teachers, two about actors, and one about college students. Despite the importance of non-verbal resources in communication, there are few SLP publications on non-verbal communication and voice professionals.

Vocal handicap index in popular and erudite professional singers. / Índice de desvantagem vocal em cantores populares e eruditos profissionais.

PURPOSE: To compare the voice handicap index of popular and erudite professional singers according to gender, age, professional experience time, and presence or absence of self-reported vocal complaints. METHODS: One hundred thirty-two professional singers, 74 popular and 58 erudite, who responded to a questionnaire with regards to identification, age, gender, professional experience time in singing, musical genres (for popular singers), vocal classification (for erudite singers), presence of self-reported vocal complaints, and the specific protocols for popular (Modern Singing Handicap Index - MSHI) and erudite (Classical Singing Handicap Index - CSHI) singing. RESULTS: Higher proportion of women and higher incidence of vocal complaints were observed in the popular singers compared with the erudite singers. Most of the popular singers belonged to the genre of Brazilian Popular Music. Regarding the classification of erudite singers, there was greater participation of sopranos and tenors. No statistical differences were observed with respect to age and professional experience time between the groups. Comparison of the MSHI and CSHI scores showed no statistically significant difference between these scores and genre or age in both groups of singers. Professional experience time was related to the total score and the subscales disability and impairment in the MSHI, only for popular singers with vocal complaints. There was no correlation between these variables and the CSHI for erudite singers. CONCLUSION: The impact of vocal difficulty/problem interferes differently in these two musical genres when related to vocal complaint and professional experience time. The MSHI and CSHI protocols proved to be important tools not only for the identification of problems, but also for the understanding of how these individuals relate their voices with this occupational activity.

Índice de desvantagem vocal em cantores populares e eruditos profissionais / Vocal handicap index in popular and erudite professional singers

RESUMO Objetivo Comparar o índice de desvantagem vocal em cantores populares e eruditos profissionais de acordo com gênero, idade, tempo de atuação profissional e presença ou ausência de queixa vocal autorreferida. Método Participaram 132 cantores profissionais, 74 populares e 58 eruditos, que preencheram questionário com os dados: idade, gênero, tempo de experiência profissional no canto, gênero musical (cantores populares), classificação vocal (cantores eruditos), presença de queixa vocal autorreferida, além dos protocolos específicos para canto popular (Índice de Desvantagem Vocal para o Canto Moderno - IDCM) e erudito (Índice de Desvantagem Vocal para o Canto Clássico - IDCC). Resultados Houve maior proporção de mulheres e maior ocorrência de queixa vocal nos cantores populares, comparados aos eruditos. A maioria dos populares pertencia ao gênero da música popular brasileira. Quanto à classificação vocal dos eruditos, houve maior participação de sopranos e tenores. Não houve diferença estatística para idade e tempo de canto entre os grupos. Ao comparar os escores de IDCM e IDCC, nos populares e eruditos, não houve diferença estatisticamente significativa entre tais escores e o gênero e idade. O tempo de experiência profissional relacionou-se com escores total e subescalas incapacidade e defeito do IDCM, apenas para cantores populares com queixa. Nos eruditos não houve correlação entre essas variáveis e IDCC. Conclusão O impacto da dificuldade/problema vocal interfere de formas diferentes nos dois gêneros musicais, quando relacionados com a queixa vocal e o tempo de atuação profissional. Os protocolos IDCM e IDCC mostraram ser importantes não apenas para a identificação de problemas, mas como ferramenta para a compreensão essencial de como esses sujeitos relacionam a voz com a atividade ocupacional.

ABSTRACT Purpose To compare the voice handicap index of popular and erudite professional singers according to gender, age, professional experience time, and presence or absence of self-reported vocal complaints. Methods One hundred thirty-two professional singers, 74 popular and 58 erudite, who responded to a questionnaire with regards to identification, age, gender, professional experience time in singing, musical genres (for popular singers), vocal classification (for erudite singers), presence of self-reported vocal complaints, and the specific protocols for popular (Modern Singing Handicap Index - MSHI) and erudite (Classical Singing Handicap Index - CSHI) singing. Results Higher proportion of women and higher incidence of vocal complaints were observed in the popular singers compared with the erudite singers. Most of the popular singers belonged to the genre of Brazilian Popular Music. Regarding the classification of erudite singers, there was greater participation of sopranos and tenors. No statistical differences were observed with respect to age and professional experience time between the groups. Comparison of the MSHI and CSHI scores showed no statistically significant difference between these scores and genre or age in both groups of singers. Professional experience time was related to the total score and the subscales disability and impairment in the MSHI, only for popular singers with vocal complaints. There was no correlation between these variables and the CSHI for erudite singers. Conclusion The impact of vocal difficulty/problem interferes differently in these two musical genres when related to vocal complaint and professional experience time. The MSHI and CSHI protocols proved to be important tools not only for the identification of problems, but also for the understanding of how these individuals relate their voices with this occupational activity.