Postura corporal, voz e autoimagem em cantores líricos

• Ano de defesa: 2012
• Autor(a) principal: Mello, Enio Lopes
• Orientador(a): Andrada e Silva, Marta Assumpção de
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Fonoaudiologia
• Departamento: Fonoaudiologia
• País: BR
• Palavras-chave em Português: Voz; Postura corporal; Autoimagem; Canto lírico
• Palavras-chave em Inglês: Voice; Body posture; Self-image; Opera singing
• Área do conhecimento CNPq: CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA
• Link de acesso: https://tede2.pucsp.br/handle/handle/11941

Opera singing is an activity which requires refinement of motor coordination, in order to gain posture control during the vocal emission, and body awareness to ensure harmonization of gestures with the self-image. Often, the difficulty in promoting adjustments in posture can compromise quality and voice control. That occurs due to the close relationship between the larynx intrinsic and extrinsic musculatures, the cervical vertebrae, as well as the whole body, during singing. Objective: assess the sopranos' posture and voice, during tne singing of an opera aria; and discuss the relationship between postural and vocal signs and self-image. in opera singers. Method: this thesis is composed of two different studies. The first study is a transversal evaluation of posture and voice in 18 sÔpranos, during the rendering of an opera aria, through, respectively, computerized photogrammetry and acoustic analysis. The second study is a semiological reflection on the analysis of the posture signs, in relation to opera singers' body and vocal self-image. Results: in study 1 significant correlations (alpha 0,05) became evident, between postural changes of lower limbs, hips, torso and head, and voice, during the emission of notes F4, A4 and in the repetition of A4. According to the factorial analysis the position of the hS,ad configured an influent factor, to the vocal changes. In study 2, the semiology of the opera singer's body posture, voice and self-image resulted in a discussion, which was organized in three topics: 1- Singularity and perception; 2- Image and expression, constituted by the movement and 3- Posture, voice and self¬image. Final considerations: the first study revealed that the sopranos did hyperextension of lower limbs, hip anteversion, backwards inclination 'of torso and headextension in the lateral plane. Simultaneously, there was a decrease in the singers' formants values and increase in the intensity of the voice. The second study displayed the idea that the opera singer alters the perception of herself, at each new rendering. That can create new signs to the gestures and modify the self-image