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Sobre el profesor

Dr Filipa Lã (BBsci, MMus, PhD) is a voice reacher and professional classically trained singer. As a researcher she has been involved in several research projects assessing the effects of hormones and the use of hormone related medication on the singing voice. She also has an international career and a vast experience in early and contemporary music performance. She has worked with internationally renowned musicians and music directors, singing in recitals and securing lead roles in several operas. She has a multitude of experience in teaching at both undergraduate and posgraduate levels: (i) music medicine; (ii) music psychology and (iii) vocal technique. Additionally, she has delivered several courses on vocal technique for music therapists and teachers, and has presented several seminars at Music Colleges, and University Music Departments in the U.K and in Portugal, on medical problems of singers.

Descripción

Carácter: Teórico.
Descripción: Se tratará de la descripción de las características fonética y acústica de la voz cantada, es decir, de los diferentes rasgos que permiten la caracterización vocal de cantores.
Se requiere:
- Un ordenador con sistema de audio (altavoces) y con el programa de power-point para projección de slides
- Un proyector

Requisitos

conocer la anatomía y fisiología de la fonación
comprender textos en inglés

Objetivos

En términos de conocimientos, habilidades y actitudes, se pretende que los estudiantes sepan reconocer las diferencias acústicas, electrolaringográficas y fonéticas de la voz cantada en comparación con la voz hablada, así como las interacciones entre los diferentes elementos que constituyen la voz cantada. Deben desarrollar las habilidades auditivas que les permitan reconocer las características tímbricas y de tessitura de la voz cantada, y los errores más comunes que los cantantes principiantes hacen con su aparato fonador.

Programa

Constituyentes de la voz cantada: su fisiologia e interacción
Características electrolaringográficas, acústicas y fonéticas de la voz cantada
Diferencias acústicas entre diferentes tipos de voz cantada
d) Visualización de la cualidad vocal en el canto: espectrograma, LTAS, electroglotograma, etc.
Visualización de diferentes producciones vocales erróneas que pueden conducir a disturbaciones vocales

Metodología

Clases teóricas (4 horas)
Requiere trabajo individual

Bibliografía y documentación complementaria

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Abberton, E. R. M., Howard, D. M. & Fourcin, A. J. (1989). Laryngographic assessment of normal voice: a tutorial. Clinical Linguistics & Phonetics, 3: 281-296.
Alexander, A. (1983). What every singer should know about the voice. In K.Falkner (Ed.), Voice (pp. 26 - 32). London: Kahn & Averill.
Baken, R. J. (1987). Clinical measurement of speech and voice. London: Taylor & Francis Ltd.
Baken, R. J. (1992). Electroglottography. Journal of Voice, 6: 98-110.
Bunch, M. (1993). Dynamics of the Singing Voice. 2nd Edition. Wien: Springer-Verlag.
Carlson, E. & Miller, D. (1998). Aspects of Voice Quality: Display, Measurement and Therapy. International Journal of Language and Communication Disorders. 33: 304-309 Retrieved from http://www.laryngograph.com/ papers.htm ?internet access 4 November 2004?.
Childers, D. G., Hicks, D. M., Moore, G. P. & Alsaka, Y. A. (1986). A model for vocal vibratory motion, contact area, and the electroglottogram. Journal of the Acoustical Society of America, 80: 1309-1320.
Cranen, B. & Jong, F. (2000). Laryngostroboscopy. In R. D. Kent & M. J. Ball (Eds.) Voice Quality Measurement. (pp. 257 – 267). San Diego: Singular Thompson Learning.
Eskenazi, L., Childers, D. G. & Hicks, D. M. (1990). Acoustic correlated of vocal quality. Journal of Speech and Hearing Research, 33: 298-306.
Fourcin, A. (1986). Electrolaryngographic assessment of vocal folds function. Journal of Phonetics, 14: 435-442.
Fourcin, A. (2000). Voice quality and electrolaryngography. In R. D. Kent & M. J. Ball (Eds.) Voice Quality Measurement. (pp. 285–306). San Diego: Singular Thompson Learning.
Fourcin, A. (2000). Voice quality and electrolaryngography. In R. D. Kent & M. J. Ball (Eds.) Voice Quality Measurement. (pp. 285-306). San Diego: Singular Thomson Learning.
Fourcin, A. J. & Abberton, E. (1971). First applications of a new laryngograph. Medical and Biological Review, 21: 172-182.
Fourcin, A. J. & Abberton, E. (1977). Laryngograph studies of vocal-fold vibration. Phonetica, 34: 313-315.
Fourcin, A., Abberton, E., Miller, D. & Howells, D. (1995). Laryngograph: speech pattern element tools for therapy, training and assessment. European Journal of Disorders of Communication, 30: 101-115.
Gelfer, M. P. (1995). Fundamental frequency, intensity, and vowel selection: effects on measures of phonatory stability. Journal of Speech and Hearing Research, 38: 1189-1198.
Gilbert, H. R., Potter, C. R. & Hoodin, R. (1984). Laryngograph as a measure of vocal fold contact area. American Speech-Language-Hearing Association, 27: 178-182.
Howard, D. M. (1988). Techniques for voice measurement. Selected papers from of the 4th Voice Conservation Symposium-Voice Research Society, 2-14.
Howard, D. M. (1995). Variation of electrolaryngographically derived closed quotient for trained and untrained adult female singers. Journal of Voice, 9: 163-172.
Howard, D. M. (1998). Instrumental voice measurement: uses and limitations. In T. Harris, S. Harris, J. Rubin & D. M. Howard (Eds.). The voice clinic handbook. (pp. 323-382). London: Whurr Publishers Ltd.
Howard, D. M. (1999). The human singing voice. Proceedings of the Royal Institution of Great Britain, 70: 113-134.
Howard, D. M. & Angus, J. (2001). Acoustics and Psychoacoustics. 2nd Edition. Oxford: Focal Press.
Howard, D. M. & Garner, P. (1992). DSP-56000 based real-time electrolaryngographically derived closed quotient. Proceedings of the Institute of Acoustics, 14: 375-381.
Howard, D. M. & Lindsey, G. A. (1987). New laryngograms of the singing voice. Proceedings Xith ICPhS-The eleventh International Congress of Phonetic Sciences, 5: 166-169.
Howard, D. M., Lindsey, G. A. & Allen, B. (1990). Toward the Quantification of Vocal Efficiency. Journal of Voice, 4: 205-212.
Howard, D. Lindsey, G. & Palmer, S. (1991). Larynx closed quotient measures for the female singing voice. Proceedings of the XIIth International Congress of Phonetic Sciences, 5: 10-13.
Howard, D. M. & Rossiter, D. (1992). Results from a pilot longitudinal study of electrolaryngographically derived closed quotient for adult male singers in training. Proceedings of the Institute of Acoustics, 14: 529-535.
Howard, D.M., Welch, G.F., Brereton, J., Himonides, E., DeCosta, M., Williams, J. & Howard, A.W. (2004). WinSingad: A real-time display for the singing studio. Logopedics Phoniatrics Vocology, 29: 135-144.
Laver, J. (1980). The phonetic description of voice quality. Cambridge: Cambridge University Press.
Le Huche, F. & Allali, A. (2003). La Voz: anatomía y fisiología de los órganos de la voz y del habla. 2nd Edition. Tomo 1. Barcelona: Masson S.A.
Lindsey, G. & Howard, D. M. (1989). Larynx excitation in the singing voice. Speech Hearing and Language, 3: 169-177.
Miller, R. (2000). Training Soprano Voices. New York: Oxford University Press.
Stark, J. (2003). Bel Canto: A History of Vocal Pedagogy. Toronto: University of Toronto Press.
Miller, R. (1986). Structure of Singing: System and Art in Vocal Technique. Wadsworth.
Kent, R. & Ball, M. (1999). Handbook of Voice Quality Management. Singular Press.
Sundber, J. (1987). The Science of the Singing Voice. Northern Illinois University Press.
Titze, I. R. (2000). Principles of Voice Production. National Center for Voice and Speech.
Thurman & G. Welch (2000). Bodymind & Voice- foundation of voice education. National Centre for Voice and Speech.
Welch, G.F., Himonides, E., Howard, D.M., & Brereton, J. (2004). VOXed: Technology as a meaningful teaching aid in the singing studio. Proceedings of the Conference on Interdisciplinary Musicology, CIM04, Graz, 15-18 April, Abstract pp. 166, paper on CD ROM, ISBN: 3-200-0013-5.
Welch, G. F. & Sundberg, J. (2002). Solo Voice. In R. Parncutt & G. E. McPherson (Eds.) The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning. (pp. 253-268). Oxford: Oxford University Press.