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PURPOSE: To analyze self-perceived vocal symptoms and discomfort in amateur church singers and compare them between genders and church types. METHODS: It was a quantitative cross-sectional study involving 99 amateur church singers aged between 18 and 59years. Data collection was carried out through the completion of a sociodemographic questionnaire, the Voice Symptom Scale (VoiSS), and the Vocal Tract Discomfort Scale (VTDS). The Mann-Whitney test was used for comparisons, and Spearman's correlation test was used for analyzing correlations between scale scores. The adopted significance level was 5% (P < 0.05). RESULTS: There was a prevalence of females (71.7%), amateur singers from Protestant churches (73.7%), with a mean age of 27.5years. The average VoiSS total score was 22.6 points, the "limitation" domain was 12.3, the "emotional" domain was 2.55, and the "physical" domain was 7.7. The most self-perceived sensations in the VTDS were "dryness," "sore throat," and "itchiness" with mild to moderate intensity. There was a statistically significant difference between genders (P < 0.05) and a positive correlation from weak (r = 0.212) to strong magnitude (r = 0.660) between vocal symptoms and vocal tract discomfort. There was no statistically significant difference between types of churches. CONCLUSION: Amateur singers self-report high levels of vocal symptoms, which impact limitation, emotional, and physical domains. Furthermore, they experience vocal tract discomfort sensations, with dryness being the most frequently reported, followed by sore throat and itching. No significant differences were found between the scale scores and church types. However, females reported a greater frequency and intensity of vocal tract discomfort sensations. The greater the self-reported vocal symptoms in this population, the higher their self-reported frequency and intensity of vocal tract discomfort sensations. These findings underscore the importance of addressing vocal health issues in amateur singers to enhance their overall well-being.

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INTRODUCTION: The vocal characteristics of countertenors (CTTs) are poorly understood due to a lack of studies in this field. This study aims to explore differences among CTTs at various professional levels, examining both disparities and congruences in singing styles to better understand the CTT voice. MATERIALS AND METHODS: Four CTTs (one student, one amateur, and two professionals) sang "La giustizia ha già sull'arco" from Handel's Giulio Cesare, with concurrent videofluoroscopic, electroglottography (EGG), and acoustic data collection. Auditory-perceptual analysis was employed to rate professional level. Acoustic analysis included LH1-LH2, formant cluster prominence, and vibrato analysis. EGG data was analyzed using FonaDyn software, while anatomical modifications were quantified using videofluoroscopic images. RESULTS: CTTs exhibited EGG contact quotient values surpassing typical levels for inexperienced falsettos. Their vibrato characteristics aligned with expectations for classical singing, whereas the presence of the singer's formant was not observed. Variations in supraglottic adjustments among CTTs underscored the diversity of techniques employed by CTT singers. CONCLUSIONS: CTTs exhibited vocal techniques that highlighted the influence of individual preferences, professional experience, and stylistic choices in shaping their singing characteristics. The data revealed discernible differences between professional and amateur CTTs, providing insights into the impact of varying levels of experience on vocal expression.

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BACKGROUND: To the best of our knowledge, studies on the relationship between spectral energy distribution and the degree of perceived twang-like voices are still sparse. Through an auditory-perceptual test we aimed to explore the spectral features that may relate with the auditory-perception of twang-like voices. METHODS: Ten judges who were blind to the test's tasks and stimuli rated the amount of twang perceived on seventy-six audio samples. The stimuli consisted of twenty voices recorded from eight CCM singers who sustained the vowel [a:] in different pitches, with and without a twang-like voice. Also, forty filtered and sixteen synthesized-manipulated stimuli were included. RESULTS AND CONCLUSIONS: Based on the intra-rater reliability scores, four judges were identified as suitable to be included in the analyses. Results showed that the frequency of F1 and F2 correlated strongly with the auditory-perception of twang-like voices (0.90 and 0.74, respectively), whereas F3 showed a moderate negative correlation (-0.52). The frequency difference between F1 and F3 showed a strong negative correlation (-0.82). The mean energy between 1-2 kHz and 2-3 kHz correlated moderately (0.51 and 0.42, respectively). The frequency of F4 and F5, and the energy above 3 kHz showed weak correlations. Since the spectral changes under 2 kHz have been associated with the jaw, lips, and tongue adjustments (i.e. vowel articulation) and a higher vertical laryngeal position might affect the frequency of all formants (including F1 and F2), our results suggest that vowel articulation and the laryngeal height may be relevant when performing twang-like voices.

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RESUMO Objetivo Mapear o risco vocal em cantores eruditos profissionais, analisando sua autoavaliação vocal e autopercepção de desvantagem vocal no canto e fadiga vocal. Método Participaram deste estudo 52 cantores eruditos de coros profissionais, entre 31 e 72 anos, que preencheram online (Formulários Google) um questionário de caracterização, autoavaliação vocal, bem como os instrumentos Índice de Desvantagem Vocal 10 - IDV-10, Índice de Desvantagem para o Canto Clássico - IDCC e Índice de Fadiga Vocal - IFV. Resultados A média da autoavaliação vocal ficou entre "Boa" e "Muito boa" (1,2). A média do escore total do IDV-10 foi 1,35, abaixo da nota de corte. A média do escore total do IDCC foi 10,04. A média do escore total do IFV foi de 10,83, próxima da nota de corte. Cantores eruditos que, em suas aulas, dão exemplos aos alunos com a própria voz apresentam maiores escores nos instrumentos IDV-10 (p=0,013), IFV restrição vocal (p=0,011) e IFV escore total (p=0,015). Cantores eruditos que já procuraram fonoaudiólogo devido a problemas de voz apresentam maiores escores no IFV fator restrição vocal (p=0,040) e no IFV fator recuperação com repouso vocal (p=0,019), além de terem correlações entre os escores dos instrumentos. Conclusão Cantores eruditos profissionais não apresentam desvantagem vocal. Porém, questões relacionadas à autopercepção de fadiga vocal se mostram mais presentes quando relacionadas às atividades de uso da voz cantada, como dar exemplos em aulas com a própria voz. Ter tido problema vocal e procurado fonoaudiólogo no passado proporciona maior percepção de recuperação vocal com repouso.

ABSTRACT Purpose To map the vocal risk in professional classical singers, analyzing their self-assessment of voice and self-perception of singing voice handicap and vocal fatigue. Methods The study sample comprised of 52 professional classical choir singers, aged 31 to 72 years. They answered an online questionnaire in Google Forms, addressing their characterization, self-assessment of voice, the Voice Handicap Index-10 (VHI-10), Classical Singing Handicap Index (CSHI), and Vocal Fatigue Index (VFI). Results The mean self-assessment of voice was between "Good" and "Very good" (1.2). The mean total VHI-10 score was 1.35, which is below the cutoff. The mean total CSHI score was 10.04. The mean total VFI score was 10.83, near the cutoff value. Classical singers who use their voice to give examples to students in their classes had higher scores in VHI-10 (p = 0.013), VFI voice restriction (p = 0.011), and VFI total score (p = 0.015). Besides, classical singers who already visited a Speech-Language Pathologist for voice problems had higher scores in VFI voice restriction (p = 0.040) and VFI recovery with voice rest (p = 0.019), in addition to correlations between instrument scores. Conclusion Professional classical singers did not have voice handicaps. However, their self-perception of vocal fatigue was more present when the singing voice was used, such as giving examples with their own voice in class. Having had voice problems and visited a Speech-Language Pathologist in the past led to a greater perception of vocal recovery with rest.

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RESUMO Objetivo Investigar a associação entre medidas de desvantagem vocal, sintomas de transtornos mentais comuns e a restrição das atividades de canto ocorrida durante a pandemia de Covid-19 em coralistas amadores. Métodos Estudo descritivo, analítico, transversal, de natureza quantitativa. Para coleta de dados, foram utilizados um questionário de caracterização inicial, o protocolo de Índice de Desvantagem para o Canto Moderno (IDCM) e o SRQ-20, adaptação do Self Reporting Questionnaire, todos eles disponibilizados de forma on-line. A amostra da pesquisa foi constituída por 46 participantes pertencentes aos corais amadores de duas instituições de ensino superior. Resultados As médias do escore total do IDCM e SRQ-20 foram elevadas e estiveram correlacionadas positivamente entre si. Não houve diferença entre as pontuações do IDCM e SRQ-20 para os indivíduos que referiram a infecção por Covid-19, ou não. Indivíduos que afirmaram em suas respostas que sofreram influência da restrição social causada pela pandemia apresentaram escores mais altos do que aqueles que não fizeram essa afirmação. Não houve correlação com o tempo de canto e a desvantagem vocal e a presença de sintomas de transtornos mentais, mensuradas pelo IDCM e SRQ-20, respectivamente. Coralistas que mantiveram suas atividades de canto individual ou coletivamente apresentaram menores prejuízos vocais e emocionais. Conclusão coralistas amadores relataram desvantagem vocal e transtornos mentais comuns possivelmente relacionados às restrições sociais provocadas pela pandemia de Covid-19. Os índices observados, todavia, parecem não estar associados à infecção pelo vírus em si, mas às limitações impostas pela restrição social do período pandêmico.

ABSTRACT Purpose To investigate the association between measures of voice handicap, symptoms of common mental health disorders and the restriction of singing activities that occurred during the Covid-19 pandemic in amateur choristers. Methods This is a cross-sectional, analytical, descriptive and quantitative study. To collect data were used an initial characterization questionnaire, the Modern Singing Handicap Index (MSHI) protocol and the SRQ-20, an adaptation of the Self Reporting Questionnaire, all of which were made available online. The research sample consisted of 46 participants belonging to amateur choirs from two higher education institutions. Results The mean total score for the MSHI and SRQ-20 were high and were positively correlated with each other. There was no difference between the MSHI and SRQ-20 scores between individuals who self-reported Covid-19 infection or not. Individuals who stated that the answers offered in the survey were influenced by the social restrictions caused by the pandemic had higher scores than those who did not make this statement. There was no correlation with singing time and voice handicap and the presence of symptoms of mental health disorders, measured by the MSHI and SRQ-20, respectively. Choristers who maintained their singing activities individually or collectively showed less vocal and emotional damage. Conclusion Amateur choristers reported voice disadvantage and common mental health disorders possibly related to social restrictions caused by the Covid-19 pandemic. The observed rates, however, do not seem to be associated with the virus infection itself, but with the limitations imposed by social restrictions during the pandemic period.

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RESUMO Objetivo Descrever o conhecimento de cantores amadores que se apresentam em cultos religiosos sobre saúde e higiene vocal e comparar esses achados em dois momentos distintos. Métodos Pesquisa descritiva, longitudinal, com 100 participantes que praticavam canto amador em cultos religiosos; idades entre 18 e 82 anos (média 33,72 anos), 54 mulheres e 46 homens. Os participantes responderam ao Questionário Inicial, que inclui dados pessoais e autoavaliação vocal, e ao Questionário de Saúde e Higiene Vocal, este em dois momentos, com intervalo de 20 dias e com as questões aleatorizadas. Foi dada devolutiva desse questionário após cada aplicação, por meio da apresentação das respostas corretas de cada um de seus itens. Os dados foram analisados de forma descritiva e inferencial. Resultados A maior parte dos cantores referiu algum grau de alteração vocal e relatou ao menos um sintoma vocal (principalmente pigarro e falha na voz). A pontuação foi maior na segunda aplicação do questionário e não houve correlação entre a autoavaliação vocal e a pontuação obtida. Conclusão Cantores amadores de ambos os gêneros que se apresentam em cultos religiosos demonstraram conhecimento sobre saúde e higiene vocal correspondente ao de indivíduos vocalmente saudáveis, acima do ponto de corte em ambas as aplicações do Questionário de Saúde e Higiene Vocal. Contudo, a maioria referiu alterações e sintomas vocais. Verificou-se aumento do conhecimento sobre saúde e higiene vocal na segunda aplicação, ainda que discreto. O nível de conhecimento sobre saúde e higiene vocal não se correlacionou com o grau de alteração vocal.

ABSTRACT Purpose To describe the knowledge of amateur singers who perform in religious services, about vocal health and hygiene, and compare these findings at two different moments. Methods Descriptive, longitudinal research with 100 participants who practice amateur singing in religious services; ages between 18 and 82 years (average 33.72 years), 54 women and 46 men. Participants answered the Initial Questionnaire (Q1), which includes personal data and vocal self-assessment, and the Vocal Health and Hygiene Questionnaire (QSHV), on two occasions with an interval of 20 days and with the questions randomized. The participants were given a feed-back of the QSHV after each application i.e. the correct answers to each item. The data were analyzed descriptively and inferentially. Results Most singers reported some degree of self-assessed vocal alteration and reported at least one vocal symptom (mainly throat clearing and voice failure). The score was higher in the second application of the QSHV and there was no correlation between the vocal self-assessment and the score obtained in the QSHV. Conclusion Amateur singers of both sexes who perform in religious services demonstrated knowledge about vocal health and hygiene corresponding to that of vocally healthy individuals, above the cutoff point in both applications; however, the majority reported vocal changes and symptoms. There was an increase in knowledge about vocal health and hygiene in the second application, however discreet. The level of knowledge about vocal health and hygiene did not correlate with the degree of vocal alteration.

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RESUMO Objetivo Investigar o impacto imediato na voz de cantores gospel com e sem queixa vocal após uma apresentação individual de uma hora. Método Aplicação de um questionário online que abordou os seguintes aspectos: 1 - Dados sociodemográficos; 2 - Autoavaliação da habilidade de cantar pelo protocolo Evaluation of the Ability to Sing Easily (EASE-BR); 3 - Autoavaliação de sintomas de fadiga vocal pelo Índice de Fadiga Vocal (IFV); e 4 - Autoavaliação da desvantagem vocal pelo protocolo Índice de Desvantagem Vocal 10 (IDV-10). Os participantes foram divididos em dois grupos: Grupo Com Queixa (CQ) e Grupo Sem Queixa (SQ) com base no escore total do IDV-10. Os dados passaram por análise estatística descritiva e inferencial considerando o nível de significância de 5%. Resultados Participaram 43 cantores gospel com idade mediana de 34 anos, divididos entre 32 do grupo SQ e 11 do grupo CQ. O grupo CQ autorrelatou rouquidão e maior dificuldade ao cantar no EASE e maiores escores nos protocolos IDV-10 e IFV. Foi evidenciada correlação positiva entre a dificuldade ao cantar e a desvantagem vocal com a fadiga de cantores amadores gospel, sendo que essa correlação foi maior para o grupo SQ. Conclusão Cantores com queixa vocal apresentaram maiores índices de fadiga vocal, desvantagem vocal e maior dificuldade para cantar após uma hora de apresentação. Cantores sem queixa podem ter a habilidade de cantar prejudicada pela fadiga vocal. Variações na habilidade ao cantar e desvantagens vocais de cantores amadores gospel podem ter relação direta com a fadiga vocal.

ABSTRACT Purpose To investigate the immediate impact on the voice of gospel singers with and without vocal complaints after a one-hour individual presentation. Methods Application of an online questionnaire that addressed the following aspects: 1 - Sociodemographic data; 2 - Self-assessment of the ability to sing using the Evaluation of the Ability to Sing Easily (EASE-BR) protocol; 3 - Self-assessment of vocal fatigue symptoms using the Vocal Fatigue Index (VFI) protocol; and 4 - Self-assessment of voice handicap using the Voice Handicap Index 10 (VHI-10) protocol. Participants were divided into two groups: Group with Vocal Complaint (WVC) and Group with no Vocal Complaint (WnVC) based on the total score of the IDV-10. Data underwent descriptive and inferential statistical analysis with a significance level of 5%. Results The study included 43 gospel singers with a median age of 34 years: 32 were in the WnVC group and 11 were in the WVC group. The WVC group reported hoarseness and experienced more difficulty while singing in the EASE, resulting in higher scores in both the VHI-10 and VFI protocols. A positive correlation was observed between singing difficulty and vocal handicap due to fatigue in amateur gospel singers, with this correlation being stronger within the WnVC group. Conclusion After one hour of performance, singers with vocal complaints exhibited higher rates of vocal fatigue, vocal disadvantage, and greater difficulty in singing. Singers without complaints may have their ability to sing impaired by vocal fatigue. Variations in singing ability and vocal handicaps in amateur gospel singers may be directly related to vocal fatigue.

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Objetivo: Adaptar lingüística y culturalmente el cuestionario Singing Voice Handicap Index (SVHI) al español chileno. Metodología: Se realizó la traducción directa al español chileno del SVHI y posteriormente la retrotraducción al idioma original inglés; ambas traducciones fueron revisadas por un juicio de expertos bilingües, quienes definieron qué ítems conformarían la primera versión de la herramienta traducida. Esta versión fue respondida por 15 cantantes chilenos con diagnóstico de disfonía, con el objetivo de identificar discrepancias, las que fueron revisadas y consensuadas por el comité de expertos; una segunda versión modificada fue aplicada a 5 cantantes más con diagnóstico de disfonía, no encontrándose en esta fase preguntas incomprendidas o inapropiadas para la cultura chilena. Resultados: Se modificaron 5 de los 9 ítems cuestionados para llegar la versión final que refleja la versión original del inglés, tanto en la cantidad de ítems como en los dominios de la encuesta. Limitaciones: Por la cantidad de personas participantes, se pudo realizar solamente la adaptación cultural y no la validación del instrumento que considere puntajes de corte para la población estudiada. Por lo tanto, la herramienta puede ser usada para realizar un análisis cualitativo y no cuantitativo. Valor: Contar con esta encuesta traducida, siguiendo un proceso metodológico riguroso, permite que cantantes chilenos manifiesten su desventaja vocal relacionada con el canto, además de identificar los dominios más afectados y, de esa forma, planificar de manera más específica la intervención vocal. Conclusión: Se cuenta con el cuestionario Índice de desventaja en voz cantada para el español chileno para su aplicación al idioma y cultura chilena.

Purpose: To adapt the Singing Voice Handicap Index (SVHI) questionnaire linguistically and culturally to Chilean Spanish. Methodology: The SVHI was directly translated into Chilean Spanish and later back-translated into the original English language; both translations were reviewed by a judgment of bilingual experts, who defined which items would make up the first version of the translated tool. This version was answered by 15 Chilean singers with a diagnosis of dysphonia, with the aim of identifying discrepancies, which were reviewed and agreed upon by the committee of experts; a second modified version was applied to 5 more singers with a diagnosis of dysphonia, not finding misunderstood or inappropriate questions for Chilean culture at this stage. Results: 5 of the 9 items questioned were modified to reach the final version that reflects the original English version, both in the number of items and in the domains of the survey. Limitations: Due to the number of participating people, only the cultural adaptation could be carried out and not the validation of the instrument that considers cut-off scores for the population studied. Therefore, the tool can be used to carry out a qualitative and not quantitative analysis. Value: Having this survey translated, following a rigorous methodological process, allows Chilean singers to express their singing-related vocal disadvantage and identify the most affected domains and, thus, plan the vocal intervention more specifically. Conclusion: The Singing Voice Disadvantage Index questionnaire for Chilean Spanish is available for its application to the Chilean language and culture.

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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.

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PURPOSE: To evaluate stomatognathic system's structures and functions in classical singers, relating them to the auditory-perceptual judgment of voice quality and voice self-perception. METHODS: A cross-sectional pilot study was conducted to evaluate the Stomatognathic System (SS) using orofacial myofunctional evaluation (MBGR Protocol). Voice handicap self-perception was assessed by the Classical Singing Handicap Index (CSHI) and the Voice Handicap Index (VHI-10). Voice samples, recorded according to the Consensus Auditory-Perceptual Evaluation of Voice (CAPE-V) protocol, underwent auditory-perceptual judgment by two voice experts. All statistical analyses adopted a 5% significance level. RESULTS: The study included 15 classical singers (nine women and six men). Adequate assessments of lip and tongue functionality and mobility, upper and lower lip, mentum, and tongue tone were higher compared with altered assessments (P < 0.001). Nasal and oronasal breathing showed similar proportions among singers (P = 0.273). Participants reported greater pain in the masseter muscle (P ≤ 0.001), temporomandibular joint (TMJ) (P ≤ 0.001), and sternocleidomastoid muscle (SCM), especially on the left side (P ≤ 0.001). MBGR score showed no association with singers' voice handicap and voice quality self-perception. CONCLUSION: MBGR-evaluated SS items were not related to auditory-perceptual judgment of voice quality and voice self-perception. Singers reported more pain with palpation in the SCM, masseter muscle, and TMJ. Preference for a chewing side was higher than bilateral chewing. Assessing SS is paramount for the multidimensional evaluation of classical singers' voice.

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Resumo. Objetivo. Explorar as relações entre ansiedade social (AS) e ansiedade de performance musical (APM) em uma amostra de cantores brasileiros. Método. Tratou-se de uma pesquisa analítica-descritiva, observacional, correlacional e quantitativa, com amostra de conveniência não-probabilística de 252 cantores (142 amadores e 110 profissionais). Foram aplicados um questionário sócio-demográfico, o Questionário de Ansiedade Social para Adultos e o Kenny Music Performance Anxiety Inventory. Resultados. Foi encontrada uma correlação positiva moderada e significativa entre AS e APM. Evidências sugerem que a APM é significativamente maior nos cantores profissionais e em solistas. O aspecto "Preocupação e insegurança" é significativamente maior em cantores profissionais que em amadores, sendo cantores profissionais e solistas os mais afetados. A AS e a APM estão presentes em cantores representando um agravante na saúde mental. Cantores profissionais e solistas podem ser beneficiados com diagnósticos e tratamentos na área da performance musical.

Abstract. Objective. The goal of this study was to explore the relationship between social anxiety (SA) and musical performance anxiety (MPA) in a Brazilian sample of singers. Method. This study is descriptive, observational, correlational and quantitative, with a non-probabilistic convenience sample of 252 singers (142 amateurs and 110 professionals). Participants answered a sociodemographic questionnaire, the Adult Social Anxiety Questionnaire and the Kenny Music Performance Anxiety Inventory. Results. A moderate and significant positive correlation was found between SA and MPA. Evidence suggests that APM is significantly higher in professional singers and soloists. The aspects of "Worry and Insecurity" are significantly higher in professional singers than in amateurs. In conclusion, SA and MPA are present in professional singers representing an aggravating factor in mental health. Professional singers and soloists can benefit from diagnostics and treatment in the area of music performance.

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Multimodal imitation of actions, gestures and vocal production is a hallmark of the evolution of human communication, as both, vocal learning and visual-gestural imitation, were crucial factors that facilitated the evolution of speech and singing. Comparative evidence has revealed that humans are an odd case in this respect, as the case for multimodal imitation is barely documented in non-human animals. While there is evidence of vocal learning in birds and in mammals like bats, elephants and marine mammals, evidence in both domains, vocal and gestural, exists for two Psittacine birds (budgerigars and grey parrots) and cetaceans only. Moreover, it draws attention to the apparent absence of vocal imitation (with just a few cases reported for vocal fold control in an orangutan and a gorilla and a prolonged development of vocal plasticity in marmosets) and even for imitation of intransitive actions (not object related) in monkeys and apes in the wild. Even after training, the evidence for productive or "true imitation" (copy of a novel behavior, i.e., not pre-existent in the observer's behavioral repertoire) in both domains is scarce. Here we review the evidence of multimodal imitation in cetaceans, one of the few living mammalian species that have been reported to display multimodal imitative learning besides humans, and their role in sociality, communication and group cultures. We propose that cetacean multimodal imitation was acquired in parallel with the evolution and development of behavioral synchrony and multimodal organization of sensorimotor information, supporting volitional motor control of their vocal system and audio-echoic-visual voices, body posture and movement integration.

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Introdução:Para que haja qualidade na emissão vocal, énecessária alta compreensão em relação aos conhecimentos específicos e cuidados com o sistema fisiológico da voz. Destacando-se a anatomia corporal e os mecanismos pneumofonoarticulatórios, que envolvem respiração, fonação e articulação.Objetivo:O objetivo da pesquisa foi analisar a autopercepçãode cantores quanto a sua saúde bucal e com a sua própria fala; e se a saúde bucal interfere na prática do cantor lírico. Metodologia:Para a realização desta pesquisa, foi enviado por e-mail o link do questionário on-linevalidadoa cantores líricos, de várias localidades, com a faixa etária entre 18 a 51 anos. Os dados foram analisados utilizando a estatística analítica e descritiva com o parâmetro do poder de teste de 95% e o erro α de 5%.Resultados:Os resultados indicam que 34,3% dos cantores líricos estão insatisfeitos com a saúde bucal, 62,5% identificou que possui pelo menos uma das condições ou alterações de saúde bucal citadas no questionário.Conclusões:Os cantores entrevistados relataram estar insatisfeitos com sua saúde bucal e destacaram otratamento ortodôntico euso de prótese comoosfatores que mais prejudicam o desempenho no canto lírico (AU).

Introduction:High understanding of specific knowledge and care with the physiological system of the voice is necessary for quality vocal emission. Body anatomy and pneumo-phono-articulatory mechanisms such as breathing, phonation and articulation, stand out. Objective:The objective of the research was to analyze the self-perception of singers about their oral health and their own speech, and whether oral health interferes in the practice of classical singers. Metodology:Text of the method. The link to an online questionnaire was sent by e-mail to classical singers from various places, aged between 18 and 51 years. Data were analyzed using analytical and descriptive statistics with a test power of 95% and an αerror of 5%. Results:The results indicate that 34.3% of the classical singers are dissatisfied with their oral health, 62.5% identified that they had at least one of the oral health conditions or alterations mentioned in the questionnaire. Conclusions:The singers reported being dissatisfied with their oral health and highlighted orthodontic treatment and the use of prostheses as the factors that most hinder their performance in lyrical singing (AU).

Introducción: Para tener calidad en la emisión vocal es necesario un alto nivel de conocimientos específicos y cuidados con el sistema fisiológico de la voz, destacando la anatomía del cuerpo y los mecanismos neumofonoarticulatorios que involucran la respiración, la fonacióny la articulación. Objetivo:El objetivo de la investigación fue analizar la autopercepción de los cantantes respecto a su salud bucal y con su propio discurso; y si la salud bucal interfiere en la práctica del cantante lírico. Metodología:Texto delmétodo. Para llevar a cabo esta investigación, se envió por correo electrónico el enlace al cuestionario en línea a cantantes líricos, de diversas localidades, con edades comprendidas entre los 18 y los 51 años. Los datos se analizaron mediante estadística analítica y descriptiva con un parámetro de potencia de prueba del 95 % y un error α del 5 %. Resultados:Los resultados indican que el 34.3% de los cantantes de ópera se encuentran insatisfechos con su salud bucal, el 62.5% identificó que tiene al menosuna de las condiciones o alteraciones de salud bucal mencionadas en el cuestionario. Conclusiones:Los cantantes entrevistados manifestaron estar insatisfechos con su salud bucal y destacaron el tratamiento de ortodoncia y el uso de prótesis como los factores que más dificultan su desempeño en el canto lírico (AU).

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The prevalence of anxiety has increased dramatically due to COVID-19, so effective preventive interventions are welcome. The main objective of our study was to compare the acute relaxation response (RR) induced by Tibetan singing bowl (TSB) sound-based treatment against progressive muscle relaxation (PMR) and a control waiting list group (CWL) in a single treatment session in an adult nonclinical anxious population. In this cross-sectional randomized control trial, 50 participants selected based on high state anxiety were randomly assigned to one of the experimental groups. Pre/post self-reported anxiety, electroencephalographic activity (EEG), and heart rate variability (HRV) were recorded at baseline (T1), minute 15 (T2), minute 30 (T3), and minute 45 (T4). The TSB group showed significant reductions in alpha power (from T2 to T4) and increased HRV (from T3 to T4) compared with the PMR and CWL groups. Moreover, TSB and PMR both showed significant reductions in self-reported anxiety compared with CWL, with this effect being more evident in the TSB group. We concluded that a single session of TSB treatment was able to induce a more evident psychological/physiological relaxation response compared with PMR and CWL. TSB could be a relevant acute intervention in stressful situations or crisis intervention and while waiting for conventional interventions.

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RESUMO Objetivo Analisar a nota de passagem no perfil de extensão vocal de coristas, pela identificação das frequências fundamentais e intensidades, tanto na mudança para o registro agudo quanto para o grave, comparando-as, por naipe. Método Participaram 67 coristas, com média de idade de 27,79 (±7,50) anos, dos naipes: soprano (n=20), contralto (n=17), tenor (n=15) e baixo (n=15). Para coleta e análise dos dados utilizou-se o software Vocalgrama (CTS Informática) no qual foi realizada a gravação da emissão da vogal /Ɛ/ em glissando ascendente e descendente, até às frequências mais grave e mais aguda, nas intensidades mais fraca e mais forte possíveis. Resultados Foram identificados os valores das frequências e respectivas intensidades das notas de passagem nas emissões ascendentes e descendentes fortes e fracas nos quatro naipes. Houve maior ocorrência de identificação de quebra nas vozes agudas, comparativamente às mais graves. Os valores médios das frequências encontradas foram correspondentes a notas diferentes das estabelecidas na literatura para todos os naipes. Conclusão As notas de passagem identificadas no perfil de extensão vocal de coristas, a partir de suas frequências e intensidades, obtiveram maior ocorrência nos naipes soprano e tenor, comparativamente ao contralto e baixo, nas mudanças para os registros graves e agudos.

ABSTRACT Purpose To analyze the passaggio in the voice range profile of choristers, by identifying the fundamental frequencies and intensities, both in the change to the high and low registers, comparing them, by voice types. Method 67 choristers participated, mean age of 27.79 (± 7.50) years old, of the following voice types: soprano (n = 20), alto (n = 17), tenor (n = 15) and bass (n = 15). For data collection and analysis, the Vocalgram software (CTS Informática) was used, which recorded the emission of the vowel / Ɛ / in ascending and descending glissando, up to the lowest and highest note in the weakest and strongest intensities possible. Results The values of frequencies and respective intensities of the passaggio were identified in ascending and descending, strong and weak emissions in all voice types. There was a higher occurrence of voice break in the high voices, compared to the low ones. The average values ​​of the frequencies found corresponded to different tones from those established in the literature for all voice types. Conclusion The passaggio identified in the vocal range profile of choristers, based on their frequencies and intensities were more frequent in soprano na tenor, compared to alto and bass, in changes to the low and high registers.

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RESUMO Objetivo Analisar a percepção de coristas que realizam ensaios virtuais, quanto a sintomas, desvantagens vocais, adaptações na rotina de canto e dificuldades nos ensaios durante o distanciamento social devido a pandemia do COVID-19. Método Aplicação de questionário online investigando percepções sobre a voz e rotina de canto e ensaio de 141 coristas que não tiveram a doença do COVID-19 e continuaram em atividade remota até abril de 2021. Os participantes foram divididos em dois grupos de acordo com a faixa etária: G1 (18 a 54 anos) e G2 (55 anos ou mais). Os dados passaram por análise descritiva e inferencial, considerando-se nível de significância de 5%. Resultados Durante o distanciamento, ambos os grupos referiram diminuição do tempo de canto e acharam mais difícil cantar sozinhos. Os coristas referiram menor número de infecções de garganta nesse período. Coristas do G1 perceberam voz mais rouca, relataram dificuldade para se concentrar por videoconferência, sentiam-se nervosos ao cantarem sozinhos nos ensaios virtuais e estressados gravando várias vezes a mesma música. Coristas do G2 referiram mais sintomas vocais como: voz cansada, variando ao longo do dia, voz fraca e com mais ar. Conclusão No distanciamento social, os coristas acharam mais difícil cantar por videoconferência e tiveram o tempo de prática de canto diminuído. Coristas mais jovens referiram mais sintomas emocionais e coristas com mais idade relataram mais sintomas vocais.

ABSTRACT Purpose To analyze the perception of choristers who perform online rehearsals about symptoms, vocal disadvantages, adaptations in the singing routine and difficulties in rehearsals during social distancing due to the COVID-19 pandemic. Method Application of an online questionnaire investigating perceptions about the voice and singing routine and rehearsal of 141 choristers who did not have COVID-19 disease and continued in remote activity until April 2021. Participants were divided in two groups according to the age: G1 (18 to 54 years old) and G2 (55 years old or more). The data underwent descriptive and inferential analysis, considering a significance level of 5%. Results During distancing, both groups reported a decrease in singing time and felt more difficult to sing alone. Choir singers reported fewer throat infections during this period. Choir singers from G1 noticed a huskier voice, reported difficulty concentrating via videoconferencing, felt nervous to singing alone in virtual rehearsals and stressed recording the same song several times. G2 choristers reported more physical vocal symptoms such as: tired voice, varying throughout the day, and a weaker and more breathy voice. Conclusion In social distancing, the choristers found it more difficult to sing by videoconference and had reduced singing practice time. Younger choir singers reported more emotional symptoms and older choir singers reported more vocal symptoms.

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Introdução: intervenções musicais, como canto coral, têm caráter artístico e são capazes de promover benefícios psicológicos e fisiológicos. Não há estudos na literatura sobre a repercussão do canto coral em parâmetros do sistema respiratório de escolares cantores, em comparação aos não cantores. Objetivo: comparar parâmetros do sistema respiratório entre crianças e adolescentes cantores de coral e não cantores. Método: estudo observacional transversal quantitativo incluiu escolares de 7 a 14 anos, constituindo o grupo intervenção alunos de canto coral (GCC) pareados com escolares não cantores (GNC) como controles. Realizou-se avaliação antropométrica, seguida de espirometria e manovacuometria, segundo recomendações da American Thoracic Society. Para comparação entre os grupos considerou-se os valores espirométricos absolutos e valores preditos, assim como para força de musculatura respiratória. Aplicou-se teste de Shapiro-Wilk e conduziu-se os testes U de Mann-Witney e Teste-T independente, com nível de significância de 5%. Resultados: participaram 40 crianças (95% meninas), 20 em cada grupo, com idade média de 11,25±1,80 anos no GNC e 11,20±1,64 anos no GCC. Volume expiratório forçado no primeiro segundo em porcentagem do predito (VEF1%) se apresentou maior no GNC (98,58±12,62%), em comparação ao GCC (87,10±8,84%) (p=0,001), por sua vez, GCC apresentou maior valor absoluto de pico de fluxo expiratório (PFE) (GNC:4,21±0,99l/s x GCC: 4,95±1,29l/s; p=0,048). Conclusão: os escolares cantores de canto coral não apresentaram melhores parâmetros de função pulmonar e FMR, em comparação aos não cantores (AU)

Introduction: musical interventions, such as choral singing, are artistic in character and are capable of promoting psychological and physiological benefits. There are no studies in the literature on the repercussion of choir on respiratory system parameters of practicing students compared to non-singers. Objective: compare respiratory system parameters between choir and non-choir children and adolescents. Method: cross-sectional observational study included students from 7 to 14 years old, with the intervention group constituted students of choir singing (GCC) paired with non-singing students (GNC). Anthropometric assessment was performed, followed by spirometry and manovacuometry, according to ATS recommendations. For comparison between groups, absolute spirometric values and predicted values were considered, as well as respiratory muscle strength. Shapiro-Wilk test was applied and the Mann-Witney U test and independent T-test were conducted, with a significance level of 5%. Results: 40 children (95% girls) participated, 20 in each group, with a mean age of 11.25 ± 1.80 years in the GNC and 11.20 ± 1.64 years in the GCC. Forced expiratory volume in the first second as a percentage of predicted (FEV1%) was higher in GNC (98.58 ± 12.62%) compared to GCC (87.10 ± 8.84%) (p = 0.001), GCC presented the highest absolute value of peak expiratory flow (PEF) (GNC: 4.21 ± 0.99l/s x GCC: 4.95 ± 1.29l/s; p=0.048). Conclusion: schoolchildren singing in the choir did not present better parameters of pulmonary function and FMR, compared to non-singers (AU)

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The objective of this study was to verify the immediate effect of the voiced tongue trill technique in ascending and descending glissandos on the voice range profile of choir members. A total of 25 sopranos, mezzo-sopranos, contraltos, tenors, and baritones participated in the study. They were choir members, aged 20 to 45 years, with no voice symptoms, and able to perform the voiced tongue trill technique. Their voice range profile was analyzed before and after performing the ascending and descending technique for 2 and 5 minutes. The maximum fundamental frequency values in the study groups increased after performing the ascending and descending technique for 2 minutes (P = 0.001) and 5 minutes (P = 0.003). The range in Hz increased after 2 minutes (P = 0.010) and 5 minutes (P = 0.050) of the ascending technique and after 2 minutes (P = 0.001) of the descending technique, and the minimum fundamental frequency mean value suffered interference from the type of technique (ascending/descending). The immediate effects of VTTT in glissandos on the VRP of choir members' considering the two factors: condition and time, in ascending and descending glissandos for 2 and 5 minutes increased the maximum frequency and the range in Hz of choristers. Regarding volume levels results, no difference was found in intensity after applying the technique.

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Abstract Introduction The importance of temporal ordering and sequencing in the auditory system is discussed because these are considered basic functions for language. Objective To verify the correlation between the practice of choir music and the temporal ordering in elderly with no prior formal musical experience. Method The study design is cross-sectional. The sample consisted of 85 elderly individuals of both genders, ≥ 60 years old, and it was composed of 43 elderly individuals with no prior formal musical experience but choir participation (research group) and 42 elderly individuals who never sang in a choir and had no music training during their life (control group). The research group was divided based on three categories of choir time. The performances of the research and control groups were compared with pitch pattern sequence (PPS), verbal condition (PPSverb), humming condition (PPShum), and duration pattern sequence (DPS) tests. Results The mean PPShum and PPSverb showed a statistically significant difference by choir time with a different mean of PPShum between the no singing experience group (59%) and the > 10 years of singing experience group (90%) (p= 0.02). Regarding the averages of PPSverb, there was a statistically significant difference between the no singing experience (23%) and > 10 years of choir time (54%) (p= 0.02) groups. Conclusion The findings indicate a better performance in the temporal ordering of the elderly who are not formal musicians but who have choir experience in the research group in relation to those with no choir experience in the control group.

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Introduction The importance of temporal ordering and sequencing in the auditory system is discussed because these are considered basic functions for language. Objective To verify the correlation between the practice of choir music and the temporal ordering in elderly with no prior formal musical experience. Method The study design is cross-sectional. The sample consisted of 85 elderly individuals of both genders, ≥ 60 years old, and it was composed of 43 elderly individuals with no prior formal musical experience but choir participation (research group) and 42 elderly individuals who never sang in a choir and had no music training during their life (control group). The research group was divided based on three categories of choir time. The performances of the research and control groups were compared with pitch pattern sequence (PPS), verbal condition (PPSverb), humming condition (PPShum), and duration pattern sequence (DPS) tests. Results The mean PPShum and PPSverb showed a statistically significant difference by choir time with a different mean of PPShum between the no singing experience group (59%) and the > 10 years of singing experience group (90%) ( p = 0.02). Regarding the averages of PPSverb, there was a statistically significant difference between the no singing experience (23%) and > 10 years of choir time (54%) ( p = 0.02) groups. Conclusion The findings indicate a better performance in the temporal ordering of the elderly who are not formal musicians but who have choir experience in the research group in relation to those with no choir experience in the control group.