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The Relationship Among Perceptual and Objective Reflux Measures in Singers
Title
The Relationship Among Perceptual and Objective Reflux Measures in Singers.
Creator
Lloyd, Adam, Hoffman Ruddy, Bari, Ryalls, John, Ratusnik, David, University of Central Florida
Abstract / Description
Laryngopharyngeal reflux (LPR) is currently one of the most prevalent conditions associated with voice disorders being treated in voice care centers worldwide. Many singers experience voice related disturbances but are unaware that these disturbances may be the result of LPR. The purpose of this study was to quantify the perceptual symptoms and objective measures of LPR in a population of singers in order to understand the relationship between perceived symptoms, laryngeal findings, and...
Show moreLaryngopharyngeal reflux (LPR) is currently one of the most prevalent conditions associated with voice disorders being treated in voice care centers worldwide. Many singers experience voice related disturbances but are unaware that these disturbances may be the result of LPR. The purpose of this study was to quantify the perceptual symptoms and objective measures of LPR in a population of singers in order to understand the relationship between perceived symptoms, laryngeal findings, and evidence of acid exposure to the larynx. The Reflux Symptom Index (RSI), Reflux Finding Score (RFS), and the Dx-pH monitoring system were used to quantify participant symptoms, endoscopic findings, and pH levels in the oropharynx. The population included 12 semi-professional and professional singers. Significant correlations were found between the RFS, RSI and pH mild and moderate pH levels. This indicates that singers are sensitive to even small deviations of pH and this should be taken into consideration when evaluating a singers who have suspected LPR. Due to the variety of etiologies that can produce the symptoms and physical findings mentioned in this study, it is imperative that more objective data be obtained to confirm the presence of reflux in the oropharynx. As such, endoscopic findings and symptoms alone are not a good indication of reflux exposure and more objective data, like an oropharyngeal pH measurement system, should be implemented to quantify reflux in the oropharynx. The RSI and the RFS are valid tools for qualifying perceptions and physical findings however they are not without flaws.
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Date Issued
2011
Identifier
CFE0004128, ucf:49093
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0004128
Pervasive Secure Content Delivery Networks Implementation
Title
Pervasive Secure Content Delivery Networks Implementation.
Creator
Lugo-Cordero, Hector, Guha, Ratan, Stanley, Kenneth, Chatterjee, Mainak, Wu, Annie, Lu, Kejie, University of Central Florida
Abstract / Description
Over the years, communication networks have been shifting their focus from providing connectivity in a client/server model to providing a service or content. This shift has led to topic areas like Service-Oriented Architecture (SOA), Heterogeneous Wireless Mesh Networks, and Ubiquitous Computing. Furthermore, probably the broadest of these areas which embarks all is the Internet of Things (IoT). The IoT is defined as an Internet where all physical entities (e.g., vehicles, appliances, smart...
Show moreOver the years, communication networks have been shifting their focus from providing connectivity in a client/server model to providing a service or content. This shift has led to topic areas like Service-Oriented Architecture (SOA), Heterogeneous Wireless Mesh Networks, and Ubiquitous Computing. Furthermore, probably the broadest of these areas which embarks all is the Internet of Things (IoT). The IoT is defined as an Internet where all physical entities (e.g., vehicles, appliances, smart phones, smart homes, computers, etc.), which we interact daily are connected and exchanging data among themselves and users. The IoT has become a global goal for companies, researchers, and users alike due to its different implementation and functional benefits: performance efficiency, coverage, economic and health. Due to the variety of devices which connect to it, it is expected that the IoT is composed of multiple technologies interacting together, to deliver a service. This technologies interactions renders an important challenge that must be overcome: how to communicate these technologies effectively and securely? The answer to this question is vital for a successful deployment of IoT and achievement of all the potential benefits that the IoT promises.This thesis proposes a SOA approach at the Network Layer to be able to integrate all technologies involved, in a transparent manner. The proposed set of solutions is composed of primarily the secure implementation of a unifying routing algorithm and a layered messaging model to standardizecommunication of all devices. Security is targeted to address the three main security concerns (i.e., confidentiality, integrity, and availability), with pervasive schemes that can be employed for any kind of device on the client, backbone, and server side. The implementation of such schemes is achieved by standard current security mechanisms (e.g., encryption), in combination with novel context and intelligent checks that detect compromised devices. Moreover, a decentralized content processing design is presented. In such design, content processing is handled at the client side, allowing server machines to serve more content, while being more reliable and capable of processing complete security checks on data and client integrity.
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Date Issued
2017
Identifier
CFE0006620, ucf:51268
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006620
BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET
Title
BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET.
Creator
Tedrick, Deborah, Wuehrmann, Nicholas, University of Central Florida
Abstract / Description
Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a...
Show moreMusic and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a youngster, I got to experience the "old school" Las Vegas, replete with extravaganza, spectacle, cabaret, circus, lounge and nightclub acts, stand-up comedy, intimate revues, and all things marketed under the guise of entertainment, art, or both. Those summers, while not overtly planned as academic or educational in nature, proved, in retrospect, to be the training ground for what was to become my passion: the art of the cabaret genre. As a person who has always loved theatrical diversity, I am drawn to cabaret as an art form. Anything that fuses other forms interests me, and cabaret amalgamates many of the artistic forms I have grown to love. I come from a unique background of classical, jazz, musical theatre and pop styles, and have studied these styles in both the piano and vocal arena. The cabaret genre allows me to realize fully the stylistic variety of performance techniques with which I excel. My mother is a classical singer and my father a jazz pianist; during my youth they would perform at the piano, "meeting in the middle" so to speak in the world of Musical Theatre, through the fusion of cabaret, classical, jazz, and pop. Growing up hearing a song like "Summertime," from Gershwin's Porgy and Bess, equally artistically rendered as both a classical aria and a jazz tune in my home was rich fodder for the vital informal education I received by being the offspring of musicians. It is due to this musical legacy that was passed on to me through my parents that I learned to explore the myriad of possibilities one can achieve through artistic musical and theatrical interpretation. Beyond the freedom of stylistic variety, cabaret performance also allows conventions such as direct interaction in the form of the proverbial "lowered fourth wall," allowing me to use my improvisational acting and interactive skill set as well as my musical skills. Cabaret is generally more intimate and personal in nature and I enjoy the camaraderie cabaret affords. Cabaret is interactive and intellectual and I am drawn to those aspects; I like the fusion of interactive banter and intellectual artistry. Also appealing to me is the "insider" sense cabaret not only allows but also encourages. Recalling my youthful memories of the Vegas shows in which the performer spoke directly to audience members, I remember the sense of belonging I felt at the recognition of some of the inside jokes. I knew I wanted to be involved with any aspect of music and theatre that would allow me the freedom to go with the moment, to reach people differently on any given day, to change with the times, and adapt to my audience and to the shifting world around me. I knew I had found a home in this intimate, insular, interactive, and intellectual art form known as cabaret. For these reasons and more I have chosen the genre of cabaret to be my intended thesis research project. I will produce, direct, and perform in a cabaret show, which will be the thesis performance. For the performance aspect of my thesis, in collaboration with my thesis partner, Josephine Leffner, I will perform a one-act chronological, historical, and stylistically varied cabaret show. The show will include material garnered from historical research of the cabaret genre, specifically settling on some of the famous women, songs, stories, lives, and important contributions. The cabaret will cover information, music, and spoken-word art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic. The show will culminate with cabaret's insurgence into American culture up to and including the state of American cabaret today. While my performance will focus mainly on American cabaret, a portion of the show will explore cabaret's European roots. Creating and performing this show will educate me further on the genre itself, as well as expand my performing skills through the varied styles in which I will perform within the realm of a single evening's entertainment. Creating and performing the show will also challenge me as a producer, director, promotional and administrative coordinator, music director, arranger, vocal director, collaborator, vocalist, pianist, actor, and writer. The show is intended as a kind of "Cabaret 101," in that the intended audience is treated to a night of variety entertainment with some historical background on the genre of cabaret. The audience is not expected to have any prior academic or experiential knowledge of cabaret in order to understand or enjoy the show. The cabaret intellectual will also be able to enjoy the show, as the songs, poems, skits, and sketches are intended to amuse and delight both the novice and the experienced cabaretist. For the research and analysis portion of my thesis monograph document I will provide information on cabaret's roots in France and Germany, as well as include informative research on American cabaret, its history and its current trends. I will have several chapters dedicated to the historical research and to other items such as the formatted libretto, documentation of a performance report from my thesis committee head, and a list of references used throughout the research and libretto chapters. I will include a structural and role analysis of the show itself and my contributions to it as outlined by the parameters of my graduate studies program. Several chapters of appendices will be included as information pertinent to the show such as costume, props, lighting lists as well as band and technical needs for the show itself. An introduction and conclusion will be created to bookend my document solidly and reveal myself as a person as well as a performer. This section will include reflective information on my intentions, triumphs, and tribulations, and will be codified through the opening and concluding perspectives. Through the process of writing the thesis monograph document I will create a public and personal record of the process, research, performance challenges, and decisions made throughout this journey. This document will be used as historical help to me should I need to refer to my thesis for later personal or professional use. The document will also be on record for the UCF theatre department, as I apply not only my performance training (as exhibited through the show itself) but also the research and critical thinking skills required of a masters degree candidate at a conservatory training program such as this one. Beyond its use for myself or for the department, I write this monograph document for others whose love and interest in studying the genre of cabaret match my own.
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Date Issued
2006
Identifier
CFE0001421, ucf:47043
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0001421
BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING
Title
BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING.
Creator
Leffner, Josephine, Wuehrmann, Nicholas, University of Central Florida
Abstract / Description
Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a...
Show moreCabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.
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Date Issued
2006
Identifier
CFE0001422, ucf:47062
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0001422
When Coquis Sing: Introducing Young Audiences to Death and Bereavement Through An Original Play
Title
When Coquis Sing: Introducing Young Audiences to Death and Bereavement Through An Original Play.
Creator
LoRicco, Michelle, Thomas, Aaron, Boyd, Belinda, Freeman, Emily, University of Central Florida
Abstract / Description
This thesis documents the play development process of When Coquis Sing, an original play for young people that introduces the death of a parent on stage. Through the analysis of research from leading child psychologists and practical instruction from the Dougy Center, the National Center for grieving children and their families, this research defines important terms and demystifies language surrounding death to aid caregivers in having clear and concise conversations with children about death...
Show moreThis thesis documents the play development process of When Coquis Sing, an original play for young people that introduces the death of a parent on stage. Through the analysis of research from leading child psychologists and practical instruction from the Dougy Center, the National Center for grieving children and their families, this research defines important terms and demystifies language surrounding death to aid caregivers in having clear and concise conversations with children about death.The purpose of this document is to counter the American cultural perception of death as a taboo topic for children. Hosting open conversations about death leads to healthier child development, which can help children cope with the loss that everyone will inevitably face in life. Theatre has been proven to work as a catalyst for conversations and create empathy for young audiences. Themes of death can be seen in all forms of storytelling for children , but this study implores the use of theatre to not only reflect experiences of grieving children on stage, but also create preemptive dialogue on the topic, so when tragedy strikes, children can have a tangible example to point back to.The arguments in this document thwart misconceptions of using Piaget's stages of cognitive development and K(&)#252;bler-Ross's five stages of grief as measurements of how all human beings should grieve. Instead of placing grieving children in stages and age groups that exclude important variables, this study focuses on the individual stories that are shared through reflective journals on the investigator's experiences and conversations as a grief facilitator, tutor, and artist in the field of Theatre for Young Audiences. The original play, When Coquis Sing, has been designed to induce conversations on death through the telling of a young protagonist's story of loss, grief, and victory.
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Date Issued
2018
Identifier
CFE0007041, ucf:52008
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0007041