Music Singing Research Articles

AINULINDALË, THE LORD OF THE RINGS AND LOTRO: ABOUT TIME

According to Physics (HAWKING, 2017), time originated at the Big Bang. According to some religions, time originated at the moment God created the universe. Arda’s time originated with the music sung by the Ainur and the counting of the days begun with Anar. In the following, I would like to offer a series of thoughts on the phenomenon of time comparing The Lord of The Rings Online ( Lotro ) , released by Turbine Inc. and now maintained by Standing Stone Games, to Tolkien’s Arda. Also, I would like to introduce the idea that while time is originated both by the wonderful beings Ainur and Anar in the book, the player is the wonderful being that rules her/his own present time in Lotro . To do this, I proceed via a brief account of Stephen Hawking’s and game researchers’ considerations about time. I propose that even in their differences the dialogue established between the media (literature and video game) is successful. More specifically, I suggest that each medium has its particularities however from their dynamic dialogue fruitful intermediatic creations may emerge. According to Physics (HAWKING, 2017), time originated at the Big Bang. According to some religions, time originated at the moment God created the universe. Arda’s time originated with the music sung by the Ainur and the counting of the days begun with Anar. In the following, I would like to offer a series of thoughts on the phenomenon of time comparing The Lord of The Rings Online ( Lotro ) , released by Turbine Inc. and now maintained by Standing Stone Games, to Tolkien’s Arda. Also, I would like to introduce the idea that while time is originated both by the wonderful beings Ainur and Anar in the book, the player is the wonderful being that rules her/his own present time in Lotro . To do this, I proceed via a brief account of Stephen Hawking’s and game researchers’ considerations about time. I propose that even in their differences the dialogue established between the media (literature and video game) is successful. More specifically, I suggest that each medium has its particularities however from their dynamic dialogue fruitful intermediatic creations may emerge.

“I’m an American Soldier”: Country Music’s Envoicing of Military Men and Families after 9/11

ABSTRACTToby Keith’s number one hit “American Soldier” (2003) initiated a decade-long exploration of soldier-related topics by country music songwriters and singers, including forty-two tracks recorded between 2003 and 2014. Twenty-five records in this corpus were released as singles for radio play, with almost one-third of these reaching the top three positions on various country charts. Shared musical traits among the forty-two include a moderate tempo and a spare texture foregrounding the singer. The lyrics consistently feature soldiers, their families, and friends speaking in first person “I” voices. The implied “you” addressed by these “I” voices delimits the expressive scope of the corpus, at times hailing listeners beyond the country music audience, but primarily reaching out to the closest family and friend relations, with the resulting dialogue among intimates overheard by the sympathetic listener. Released mostly during the United States’ invasion of Iraq and at the height of American soldier deaths in that conflict, country soldier songs only rarely engage with the fraught domestic politics of the war. Across the corpus of tracts, the celebration of victory proves out of reach. This body of melodramatic and mournful meditations on an ongoing and difficult war presents individuals and families dealing privately—in neoliberal fashion—with their grief.

New Media, New Audiences: Charting the Rise of Spiritual and Religious Music in Egypt

Music is the language that everyone understands. As an element of culture, music evolved with the development of civilizations. Some of the religious subgroups produced a unique type of music that echoed in the Arabian Peninsula as well as nearby civilizations, such as Andalusia and Persia. This type of music has survived over the centuries. Nowadays, spiritual music is very popular in Egypt, particularly among youth. New trends like the Egyptian Mawlawya are gaining popularity. Concerts are sold out, hundreds of thousands watch religious and spiritual music on YouTube, and most contemporary pop music singers have at least one religious song. The purpose of this research is to understand whether this surge in popularity has depended more on the needs of audiences or the digital media that has made it more accessible. With this in mind, this study poses two questions: Why have spiritual and religious music recently become widely appealing to Egyptian audiences? And, do media play a role in their popularity?

The Music of Johann Rudolph Ahle

Name: Jacob Gramit Main Subject: Early Music Singing Research Supervisor: Kathryn Cok Title of Research: The Music of Johann Rudolph Ahle: Editorial and Performance Issues Surrounding the 1658 Neu-Gepflanzter Thüringischer Lustgarten Research Question: How can creating a critical-performance edition of the music of Johann Rudolph Ahle impact my performance of his music? Summary of Results: Having always been drawn to German Music of the seventeenth century, I found a collection of music from Johann Rudolph Ahle (1623-1673) that was largely unknown and unperformed. This enabled me to start from nothing when creating an edition and researching Ahle's life and music; meaning I could see what effect the process would have on my performance. By doing detailed research into a specific collection, looking at both his compositional style and his use of pre-existing texts and music, I discovered Ahle's seeming fascination with personal spirituality, leading to new ideas for the performance of his music. Biography: Originally from Edmonton Canada, Jacob Gramit is currently living in the Netherlands, pursuing a Master’s Degree in The Hague, studying with Pascal Bertin, Peter Kooij, Dorothee Mields, Robin Blaze, and Lenie van den Heuvel. Recently, he both prepared the edition and performed in Michael Chance’s production of Cavalli’s Giasone, and upcoming projects include Handel’s Dixit Dominus with Holland Baroque and Cappella Amsterdam. Before moving abroad, Jacob lived in Vancouver, where he still performs - most recently he performed in the 2017 Vancouver Bach Festival, and coordinated the Summer Festival of Sacred Music at Christ Church Cathedral, which he will return to run in 2018. He attended the University of British Columbia (BMus, 2012), and sang for three seasons with musica intima, a professional and self-directed vocal ensemble.

Madness in music

Name: May Kristin Svanholm Hegvold Main Subject: Early Music Singing Research Supervisor: Inês de Avena Braga Title of Research: Madness in music Research Question: How can one, convincingly, portray madness in a musical performance without being considered in a state of madness? Summary of Results: In the 17th century, madness was a relatively common theme in entertainment such as poetry, theatre, and music. There was something that fascinated the people of that time with the uncontrollable nature of madness. Henry Purcell and Thomas d’Urfey was among the many writers and composers who dealt with this subject, and a selection of their mad songs and texts are the main focus of my research. Feelings such as love, hate, envy, sadness and happiness are feelings most of us have felt in our life, but madness is perhaps a state that is exclusive to some people. Is it then possible to portray this state of mind convincingly in a performance of the music? To answer this question, I have examined how madness was portrayed by Purcell and d’Urfey, and generally how people that were considered mad was treated and viewed by the society. After researching the madness of the 17th century and what we today view as madness through music, text, historical documents and other forms of entertainment, I have come to the conclusion that it is possible to portray madness convincingly, but that madness is something completely different than the feelings previously mentioned. One person can view something as madness while someone else sees it as completely normal. Biography: May Kristin Svanholm Hegvold is a soprano from Norway. She did her bachelor's degree at the Conservatoire in Trondheim with professor Elisabeth Meyer-Topsøe, and is now studying for a master's degree in the early music department at the Royal Conservatoire in The Hague, with Rita Dams. May Kristin has participated as a soloist in many productions, including the premieres of two new operas by Norwegian composers, “Pappapermisjon” by Bertil Palmar Johansen and “Kommentarfeltet” by Trygve Brøske. She has also, among other things, been the soloist in Pergolesi’s “Stabat Mater” and sung the roles of Dido, 2nd Woman and 1st Witch from the opera “Dido and Aeneas”. Her latest roles involve Pamina from the opera “Die Zauberflöte” and Piacere from Händels “Il Trionfo del Tempo”.

Andung-Andung Mate di Ranto

This study aims to understand the song of Mate di Ranto from a musicological perspective. The main data of this research is the song of Mate di Ranto by Poster Sihotang. The analysis was done by observing the melody and the lyrics of the song. Based on the research it is concluded that the song of Mate di Ranto is a song of Toba people with the genre of andung-andung, which is a melancholic nuance and has a meaning as an expression of sadness. This song is inspired by the andung-andung of death ceremony. This song is the result of a blend of traditional singing style of andung-andung and popular music singing styles. This song uses a combo band accompaniment which is composed by combining elements of pop music and traditional Toba music.

Contemporary Commercial Music Singing Students—Voice Quality and Vocal Function at the Beginning of Singing Training

The purpose of this study was to assess the voice quality and the vocal tract function in popular singing students at the beginning of their singing training at the High School of Music. This is a retrospective cross-sectional study. The study consisted of 45 popular singing students (35 females and 10 males, mean age: 19.9 ± 2.8 years). They were assessed in the first 2 months of their 4-year singing training at the High School of Music, between 2013 and 2016. Voice quality and vocal tract function were evaluated using videolaryngostroboscopy, palpation of the vocal tract structures, the perceptual speaking and singing voice assessment, acoustic analysis, maximal phonation time, the Voice Handicap Index, and the Singing Voice Handicap Index (SVHI). Twenty-two percent of Contemporary Commercial Music singing students began their education in the High School, with vocal nodules. Palpation of the vocal tract structure showed in 50% correct motions and tension in speaking and in 39.3% in singing. Perceptual voice assessment showed in 80% proper speaking voice quality and in 82.4% proper singing voice quality. The mean vocal fundamental frequency while speaking in females was 214 Hz and in males was 116 Hz. Dysphonia Severity Index was at the level of 2, and maximum phonation time was 17.7 seconds. The Voice Handicap Index and the SVHI remained within the normal range: 7.5 and 19, respectively. Perceptual singing voice assessment correlated with the SVHI (P = 0.006). Twenty-two percent of the Contemporary Commercial Music singing students began their education in the High School, with organic vocal fold lesions.

Comparison of Effects Produced by Physiological Versus Traditional Vocal Warm-up in Contemporary Commercial Music Singers

The present study aimed to observe whether physiological warm-up and traditional singing warm-up differently affect aerodynamic, electroglottographic, acoustic, and self-perceived parameters of voice in Contemporary Commercial Music singers. Thirty subjects were asked to perform a 15-minute session of vocal warm-up. They were randomly assigned to one of two types of vocal warm-up: physiological (based on semi-occluded exercises) or traditional (singing warm-up based on open vowel [a:]). Aerodynamic, electroglottographic, acoustic, and self-perceived voice quality assessments were carried out before (pre) and after (post) warm-up. No significant differences were found when comparing both types of vocal warm-up methods, either in subjective or in objective measures. Furthermore, the main positive effect observed in both groups when comparing pre and post conditions was a better self-reported quality of voice. Additionally, significant differences were observed for sound pressure level (decrease), glottal airflow (increase), and aerodynamic efficiency (decrease) in the traditional warm-up group. Both traditional and physiological warm-ups produce favorable voice sensations. Moreover, there are no evident differences in aerodynamic and electroglottographic variables when comparing both types of vocal warm-ups. Some changes after traditional warm-up (decreased intensity, increased airflow, and decreased aerodynamic efficiency) could imply an early stage of vocal fatigue.

Prevalence of Voice Disorders in Singers: Systematic Review and Meta-Analysis

The study aimed to review the prevalence of self-reported voice disorders in singers. The study is a systematic review and meta-analysis. A systematic review of five major scientific databases was conducted. An extensive search strategy was used considering the rules of each database. Original articles were included only if they had data related to self-perception of dysphonia in the past. Furthermore, heterogeneity and its relative significance were assessed. There were 2371 articles identified; duplicates were deleted, screenings were conducted, and inclusion and exclusion criteria were applied. The final analysis was conducted on 11 studies. The most implemented instruments for the study were customized questionnaires. The findings about singing styles, voice use, and age were found to be different among subjects. The overall prevalence of self-reported dysphonia in singers was 46.09% (95% confidence interval: 38.16-54.12). The heterogeneity was considerable among the studied samples (I2 = 90.59%). Four groups were then established-students, teachers, classical, and nonclassical-and compared regarding overall prevalence (21.76% in students, and significantly higher and nondifferent in the other three groups, 55.15%, 40.53%, and 46.96%, respectively) and heterogeneity (low only for the students' studies). Although with low homogeneity, singers present a high prevalence of self-perceived dysphonia over their careers. Singing students were the group with a lower prevalence. On the other hand, traditional and popular music singers, as well as singing teachers, revealed significantly higher prevalence of self-perceived dysphonia. Overall, singers are likely to report voice disorders, no matter their singing style or skills. This highlights the need of a preventive approach to address voice disorders in traditional and untrained singers.

Comparison of Vocal Cord Motion and Voice Characteristics of Applied Music Singing Students before and after Singing Voice Therapy

Comparison of Vocal Cord Motion and Voice Characteristics of Applied Music Singing Students before and after Singing Voice Therapy

Music and the Aesthetic in Worship and Collective Singing: England since 1840

The article surveys the course of the tension within Christianity over the role of the aesthetic in music for worship and in religious music more widely, from Augustine to the present day. It outlines the recurrent features of debate. It then focuses specifically on England, beginning with the tension over the aesthetic in music during the sixteenth century Reformation and in the two subsequent centuries. It looks at major changes, such as the autonomy of the aesthetic, associated with nineteenth century romanticism. The main section of the article traces debates over both church music and mass collective singing, in part as they bear on the construction of national identity. The article concludes with developments in Evangelicalism and in spirituality in a secular society.

Voice Habits and Behaviors: Voice Care Among Flamenco Singers

The purpose of this study is to analyze the vocal behavior of flamenco singers, as compared with classical music singers, to establish a differential vocal profile of voice habits and behaviors in flamenco music. Bibliographic review was conducted, and the Singer's Vocal Habits Questionnaire, an experimental tool designed by the authors to gather data regarding hygiene behavior, drinking and smoking habits, type of practice, voice care, and symptomatology perceived in both the singing and the speaking voice, was administered. We interviewed 94 singers, divided into two groups: the flamenco experimental group (FEG, n = 48) and the classical control group (CCG, n = 46). Frequency analysis, a Likert scale, and discriminant and exploratory factor analysis were used to obtain a differential profile for each group. The FEG scored higher than the CCG in speaking voice symptomatology. The FEG scored significantly higher than the CCG in use of "inadequate vocal technique" when singing. Regarding voice habits, the FEG scored higher in "lack of practice and warm-up" and "environmental habits." A total of 92.6% of the subjects classified themselves correctly in each group. The Singer's Vocal Habits Questionnaire has proven effective in differentiating flamenco and classical singers. Flamenco singers are exposed to numerous vocal risk factors that make them more prone to vocal fatigue, mucosa dehydration, phonotrauma, and muscle stiffness than classical singers. Further research is needed in voice training in flamenco music, as a means to strengthen the voice and enable it to meet the requirements of this musical genre.

Differences of characteristics of music singing between in usual Karaoke and in Hitokara

Recently some of people in Japan go to Karaoke by oneself. This is called Hitokara (solo Karaoke). We investigated the differences of characteristics of music singing between in usual Karaoke and in Hitokara. Participants were 103 university students. They were asked to fulfill a questionnaire about characteristics of music singing both in usual Karaoke and in Hitkoara. As a result, about one third of participants had at least once experience of Hitokara singing, and they preferred both usual Karaoke singing and Hitokara singing. However, they preferred the music with characteristics of elation or lightness in usual Karaoke singing, in Hitokara singing they preferred the music with various characteristics. In Hitokara singing, people sing actively and they would be able to cope well with various moods by singing various music.

Working 9–5: Causal Relationships Between Singers' “Day Jobs” and Their Performance Work, With Implications for Vocal Health

It is acknowledged generally that professional contemporary commercial music (CCM) singers engage in supplementary employment ("the day job") to achieve and maintain a reliable living wage. In this paper, consideration is given to the impact of such nonperformance employment on CCM's sustainable vocal health. Collected data from a survey of 102 professional contemporary gig singers were analysed using descriptive statistical procedures from the Statistical Package for the Social Sciences. Although these data provided descriptions of the personal characteristics of individuals in the sample, the inclusion of open format questions encouraged participants to report details of their "lived" experience. Additionally, a meta-analysis of a range of associated literature was undertaken. Sixty-five participants (N = 102) reported that in addition to their heavy performance voice use, they were employed in "other" work (the "day job") where their speaking voice loads were high. In responding to open-ended questions, many proffered written comments that were unprompted. The collected data from this element of the research study are reported here. We propose that at least some causal factors of singers' reported voice problems may lie in the misuse or overuse of their everyday speaking voice (as demanded by their "day job") rather than a misuse of their singing voice. These findings have practical application to all whose concern is care for the vocal or emotional health and performance longevity of professional singers.

Subversive Climes: Exploring the role of exoticism in Les Indes Galantes

Name: Bethany Shepherd Main Subject: Early Music Singing Research Supervisor: Charles Toet Title of Research: Subversive Climes: Exploring the role of exoticism in Les Indes Galantes Research Question: What is the role of exoticism in Les Indes Galantes? Summary of Results: Exoticism in Rameau’s opéra-ballet Les Indes Galantes has three primary functions. By setting the plots of the four independent entrées in real but geographically distant cultures, the librettist Louis Fuzelier was able to introduce new spectacles to the operatic stage, providing novelty for audiences jaded by the tradition of entertainment based on gods and mythology. This dramatic development in turn provided Rameau with the opportunity to manipulate and extend the musical conventions of the time in order to create a style of expression appropriate to depict these exotic characters and locales. A deeper understanding of the context in which Rameau and Fuzelier created this work was has further revealed that the libretto and Rameau’s musical depiction of the characters in Les Incas du Pérou and Les Sauvages reflect the practice in early Enlightenment literary and philosophical cirlces of idealising exotic cultures to criticise eighteenth century French society. These conclusions offer modern performers a wider range of interpretive options when approaching this work, allowing for a more nuanced performance which brings together the elements of drama, music, philosophy and entertainment in a cohesive manner. Biography: Australian soprano Bethany Shepherd studied Classical Singing at the Queensland Conservatorium of Music, under renowned Wagnerian soprano Lisa Gasteen. After obtaining a Bachelor degree with distinction in Australia, Bethany moved to The Netherlands to undertake studies in Early Music at the Koninklijk Conservatorium. She is currently completing a Master of Early Music Singing, studying with Rita Dams, Jill Feldman, Peter Kooij, Michael Chance and Pascal Bertin.

Musical and theoretical training of future teachers in Poltava institute of national education (1921–1933)

In the article are considered the organizational grounds and peculiarities of musical and theoretical training of the future teacher in Poltava insitute of national education in the period from 1921 to 1933 year. It was provided by the department of art critisism that was headed in aforesaid period by the prominent Ukrainian teacher, musicologist, ethnographer, choreographer, conductor and composer V. N. Verchovinets. Within his programs of the integrated course „Art criticism (singing and music)“ the students of school and pre-school faculties received knowledges on elementary music theory, Ukrainian music history, world music history, harmony, musical education methods and choral singing. The skills and abilities necessary for the future professional activity were acquired at practical and laboratory lessons on solfeggio, play on musical instruments (piano, violin), singing, direction, choral singing. The most talented students took part in exemplary student chorus of Poltava INE where their vocal, choral and direction mastery was formed

Exploring Attitudes of Indian Classical Singers Toward Seeking Vocal Health Care

The attitude of Indian classical singers toward seeking vocal health care is a dimension yet to be explored. The current study was aimed to determine the attitudes of these singers toward seeking vocal health care and further understand the influence of age and gender. Cross-sectional. A 10-item self-report questionnaire adapted from a study on contemporary commercial music singers was used. An additional question was added to ask if the singer was aware about the profession and role of speech-language pathologists (SLPs). The questionnaire was administered on 55 randomly selected self-identified trained Indian classical singers who rated the items using a five-point Likert scale. Demographic variables were summarized using descriptive statistics and t test was used to compare the mean scores between genders and age groups. Of the singers, 78.2% were likely to see a doctor for heath-related problems, whereas 81.8% were unlikely to seek medical care for voice-related problems; the difference was statistically significant (P < 0.001). Responses for the questions assessing the attitudes toward findings from medical examination by a specialist revealed a statistically significant difference (P = 0.02) between the genders. Age did not have a significant influence on the responses. Only 23.6% of the respondents were aware about the profession and the role of SLPs. The findings are in tune with western literature reporting hesitation of singers toward seeking vocal health care and draws attention of SLPs to promote their role in vocal health awareness and management.

The Henry VIII Book (British Library, Add. MS 31922) ed. David Fallows (review)

FACSIMILE OF THE HENRY VIII BOOKThe Henry VIII Book (British Library, Add. MS 31922). Facsimile with introduction by David Fallows. (DIAMM Facsimiles, 4.) Oxford: DIAMM Publications, 2014. [Acknowledgements, p. ii; introd., p. 1-68; bibliog., p. 70-73; indexes, p. 74-79; tables, p. 80-85; 273 color plates, unpaginated. ISBN-13 978-1-907647-00-0. £120.]This facsimile edition is the fourth in the series by the Digital Image Archive of Medieval Music (DIAMM), which aims to publish facsimiles of the highest quality at a reasonable price. The first three editions in this series have likewise all been of English sources (The Eton Choirbook, The Dow Part - books, and William Byrd's Masses for 3, 4, and 5 Voices), although future volumes will include sources that originated in other countries. The facsimile is a lavish, fullcolor reproduction of the manuscript's 128 folios, as well as its binding.Because The Henry VIII Book is not nearly as well known as its more famous contemporary sources-The Eton Choirbook and The Fayrfax Book, both compiled approximately one decade earlier-a brief description is in order. It is the main surviving source of secular music from the court of Henry VIII. It was most likely copied between 1510 and 1513 for someone in the king's circle, though not the king or his immediate family. It contains 109 pieces in a variety of genres, both vocal and instrumental, including consorts (pieces with no title or cue), rounds, carols, theatrical songs, freemen's songs, and a few larger works. Freemen's is a disputed term, as David Fallows admits, and may be roughly defined as a cappella songs for male voices on a convivial text, often with hunting themes (p. 17). The composers represented in this manuscript are predominantly English, including Robert Cooper (Cowper?), William Cornysh, William Daggere, John Dunstable, Thomas Ffaredynge (Farthing), Robert Ffayrfax (Fayrfax), John Fflude (Flude), John Kempe, William Pygott, and Henry Rysbye; except for Ffayrfax and Cornysh, this manuscript has no composers in common with either The Fayrfax Book or The Eton Choir - book. The composer with the largest number of compositions, however, is King Henry VIII himself (hence the modern sobriquet of this manuscript), with thirtythree pieces; some of the anonymous works have also been attributed to Henry by modern scholars, although Fallows doubts these ascriptions. The manuscript also contains at least twelve compositions from the Continent, including some very well-known pieces such as Hayne van Ghizeghem's Alles regret and De tous bien plane, plus other works by Alexander Agricola, Jacobus Barbireau, Loyset Compere, Felice di Gio - vanni Martini (or, less likely, Antoine Busnoys), Antoine de Fevin, Henricus Isaac, Pierre Moulu, and Denis Prioris.The value of any facsimile edition can be significantly enhanced by its introduction, and Fallows's eighty-five-page prolegomenon does not disappoint in any way. It is divided into six chapters that deal, respectively, with the book (the composers and its context), a physical description, the repertory, Henry VIII, history, and a commentary on the compositions. This is followed by an extremely helpful four-page bibliography and three indexes: a general index, an index of related manuscripts, and an index of song texts. Finally, three tables complete the introduction: an inventory of the manuscript; differences between the body of the volume and the original index (table of contents); and a summary of the scoring, texting, and cleffing of each of the pieces. Fallows's writing is, as always, both engaging and erudite, and occasionally makes use of the wry humor we often associate with British scholarship (I spent a bit of time wondering whether Farthing [a possible copyist] had no serious interest in either the meaning or the metrical design of the texts; but later thought that viewpoint rather too much influenced by the classical music singers of today [p. …

Pleni Sunt Coeli et Terra

Pleni Sunt Coeli et Terra Brian F. McCabe (bio) it’s always there in the back ofmy head, this word: Sanctus… with often no reason for it,lasting from instants to hours… Holy —I breathe it, softly—a sort of after-image, the photo-negative of things Icannot even perceive most days and upon its coming the wholegreat mess —people in soft clothes, bright, shiny cars, music sung in parts, children dirty from play, —all this and so much more! —crashes in at me concentrating me … and in moments of the deep despairingdesolateinexplicably, readily comes its pulse to my heart and the word to my lips: Sanctus… … Holy and I see so many things (it is impossible to say just what I mean!) :but in a myriad of loved createdness [End Page 243] comes finitude and plenitudeall at once and in both despondency and solaceI can only murmur,somewhat astonished, “Sanctus.” [End Page 244] Brian F. McCabe Brian F. McCabe is a Jesuit-educated doctoral candidate in English at Clarement Graduate University. His poetry focuses on contemporary issues, including politics, social justice, spirituality, and LGBTQA sexuality. He is one of the editors of Foothill: A Journal of Poetry. His academic interests explore poetry movements in the United States during the twentieth and twenty-first centuries. The current poem is third and final part of a larger sequence entitled “Triptych: An Ignatian Retreat. mccabeb@gmail.com Copyright © 2015 The Johns Hopkins University Press

O gozo na aprendizagem da língua inglesa

Neste artigo, busca-se refletir sobre indicios de gozo vivificante de tres professoras de lingua inglesa de escolas regulares publicas. Parte-se da linguistica aplicada ao ensino de lingua inglesa (LI), em dialogo com a teoria do discurso franco-brasileira (AD), afetada pelo conceito de subjetividade psicanalitica. Discute-se o conceito de gozo na psicanalise para compreender o aspecto determinante na constituicao do sujeito e nas suas relacoes com o objeto. Procurou-se ouvir aqueles professores que nao recuam diante da contingencia da pratica. Os gestos de interpretacao oferecidos podem contribuir para que formadores e professores problematizem seus caminhos profissionais, questionem seus modos de gozo, seus desejos, sua implicacao perante a profissao. Foi possivel apreender que a relacao com o objeto voz, no encanto com a musica na lingua inglesa durante a infância e a adolescencia, foi determinante na relacao vivificante que elas mantem com seu ensino e com seus alunos. Palavras-chave: ensino de lingua inglesa, psicanalise, gozo.