Pressão sonora e tempo máximo de fonação após a técnica de finger kazoo

Abstract

OBJETIVO: verificar o nível de pressão sonora (NPS) modal e o tempo máximo de fonação (TMF) de /a/ de mulheres adultas, sem queixas vocais ou afecções laríngeas, antes, imediatamente após e cinco minutos após a execução da técnica de finger kazoo (FK). MÉTODO: coleta do TMF/a/, medida da frequência fundamental (f0) e seu desvio-padrão e do NPS modal, de 32 mulheres entre 18 e 40 anos de idade sem queixas vocais ou afecções laríngeas antes (M1), imediatamente após três séries de 15 repetições do FK (M2), e cinco minutos após silêncio (M3). Testes Spearman, Tukey e Friedman. RESULTADOS: aumento do NPS modal em M2 (com significância) e em M3; aumento de TMF/a/ em M2 e M3. CONCLUSÃO: no grupo pesquisado de mulheres adultas sem queixas vocais ou afecções laríngeas, houve aumento do NPS modal imediatamente após três séries de 15 repetições da técnica de FK, mostrando que a técnica pode influenciar a pressão sonora, a loudness e a projeção vocal.

Comparação dos efeitos do finger kazoo e da fonação em tubo em mulheres com voz normal

“…The first one evidenced significant increase of fundamental frequency, improve of amplitude variation (AV) and degree of subharmonics (DSH) (9) . The second one, presented significant increase of modal sound pressure level (19) . The last one, through spectrographic acoustic analysis, presented significant improvement of second, third and fourth formants, as well as of high frequencies.…”

“…In relation to FK, previous studies investigated the immediate effects of its performance in women with normal voice (2,9,19,20) . Three of them performed investigation through three series of 15 repetitions (9,19,20) . The first one evidenced significant increase of fundamental frequency, improve of amplitude variation (AV) and degree of subharmonics (DSH) (9) .…”

Ensaio clínico controlado e randomizado de terapia breve e intensiva com finger kazzo em professoras: estudo preliminar

“…Each therapy session had the following structure: issuing six sets of fifteen repetitions of FK technique (25) , with an interval of 1min passive rest (absolute silence) between each series (25) . Water could be consumed freely due to the large airflow during the exercise (17,18) . FK technique should be performed using a set to sound blowing, with rounded and semi occluded lips and the index finger positioned on the lip (as in a silence request gesture), avoiding bulging cheeks or hipertension tongue after comfortable inspiration.…”

“…Still, the voice should hear a frictional noise due to airflow in contact with the index finger. Over the repetition of the technique, the teachers should keep steady pace, without using the expiratory reserve or fry the end of the issue and prevent pitch fluctuation and/or loudness, and prevent the upper respiratory tract to breathe before repetitions (14,15,16,17,18,19) . While performing the technique, the teachers remain seated with their feet flat on the floor, back straight to the head without gradients or rotations.…”

“…Therefore, for the current scan, it was decided to use only an exercise throughout therapy with standard number of repetitions. It is noteworthy that the literature has shown that even exercises classified as semi-occluded vocal tract exercises (SOVTE) are somewhat different in relation to intraoral pressure caused during its execution (12) , hoping to different effects also on voice (13) , evidencing the importance of studies with only one vocal technique (12,13,14,15,16,17,18) . Works on the immediate effects of FK production show that this technique generates improvement of self-assessment (15,16,19) , as well as balance the vocal resonance and the kind of voice with greater stability of the issue.…”