O Long term average spectrum não tem uma metodologia de trabalho fácil de ser apreendida, principalmente se o estudo envolve a mensuração do nível de pressão sonora, mas mostrou ser uma ferramenta eficiente para análise da qualidade da voz, dos seus traços mais estáveis na medida em que “resume” por meio de uma média, uma coleção de espectros momentâneos, revelando a contribuição da fonte glótica e do filtro para a qualidade da voz. Não é um método diagnóstico e a avaliação perceptivo-auditiva faz-se imprescindível. Alguns aspectos tais como f0, jitter, shimmer, proporção harmônico-ruído e análise de freqüências formantes, que dependem de uma resolução de tempo, não são contempladas pelo LTAS e, por este motivo, outros tipos de análise acústica são necessários em complementação. Dentre as variáveis estudadas, a proporção alpha mostrou ser bem consistente e a região do “formante do ator” pode ser facilmente identificada. A relação L1-L0 foi difícil de ser mensurada, bem com o pico da região do F1 que muitas vezes se confunde com o do f0, sendo importante a escolha de um filtro adequado para a realização do espectro.
VI. CONCLUSÕES
Com base no LTAS médio da voz de atores e não atores, foi possível verificar que: Os atores apresentaram o “formante do ator” nas loudness habitual, moderada e forte; Os não atores apresentaram o “formante do ator” nas loudness moderada e forte.
Buscando as diferenças entre as vozes de atores e não atores por meio da análise acústica, concluímos que:
Nas loudness habitual, moderada e forte, a proporção alpha e o pico mais forte da região de 3-4kHz de atores e não atores foram significativamente diferentes;
Na loudness moderada, o nível de pressão sonora da freqüência fundamental (L0) e a diferença L1-L0 de atores e não atores foram significativamente diferentes;
Na loudness habitual, a freqüência do primeiro formante (F1) de atores e não atores foi significativamente diferente;
Nas loudness habitual, moderada e forte, o nível de pressão sonora médio (NPS), a freqüência fundamental média (f0), a freqüência média do primeiro formante (F1) e a freqüência do “formante do ator” de atores e não atores não apresentaram diferenças significantes;
Nas loudness habitual e forte, o nível de pressão sonora da freqüência fundamental (L0) e a diferença L1-L0 de atores e não atores não apresentaram diferenças significantes;
Nas loudness moderada e forte, a freqüência do primeiro formante (F1) de atores e não atores não apresentaram diferenças significantes;
Buscando as diferenças entre as vozes de atores e não atores, por meio da análise perceptivo-auditiva concluímos que:
Nas loudness habitual, moderada e forte, o grau de projeção e o grau de loudness de atores e não atores foram significativamente diferentes;
Nas loudness habitual, moderada e forte, o grau de tensão de atores e não atores não apresentaram diferenças significantes;
Correlacionando as variáveis das análises acústica e perceptivo-auditiva verificamos que:
Nas loudness habitual, moderada e forte houve correlações significantes entre: grau de projeção e grau de tensão;
grau de loudness e proporção alpha.
“formante do ator” e proporção alpha;
“formante do ator” e grau de loudness
F0 e F1
Nas loudness moderada e forte houve correlações significantes entre:
grau de projeção e F0;
grau de loudness e diferença L1-L0;
proporção alpha e diferença L1-L0;
Nas loudness habitual e forte houve correlações significantes entre:
F1 e L0
Na loudness forte houve correlações significantes entre:
grau de projeção e grau de loudness;
grau de projeção e “formante do ator”.
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VIII. ANEXOS