scholarly journals Electroglottographic Analysis of the Voice in Young Male Role of Kunqu Opera

2021 ◽  
Vol 11 (9) ◽  
pp. 3930
Author(s):  
Li Dong ◽  
Jiangping Kong
Keyword(s):  
Clustering Analysis ◽  
Sound Pressure ◽  
Young Male ◽  
Young Female ◽  
Pitch Range ◽  
Male Role ◽  
Male Roles ◽  
The Relationship ◽  
The Voice

The phonation types used in the young male role in Kunqu Opera were investigated. Two national young male role singers volunteered as the subjects. Each singer performed three voice conditions: singing, stage speech, and reading lyrics. Three electroglottogram parameters, the fundamental frequency, contact quotient, and speed quotient, were analyzed. Electroglottogram parameters were different between voice conditions. Five phonation types were found by clustering analysis in singing and stage speech: (1) breathy voice, (2) high adduction modal voice, (3) modal voice, (4) untrained falsetto, and (5) high adduction falsetto. The proportion of each phonation type was not identical in singing and stage speech. The relationship between phonation type and pitch was multiple to one in the low pitch range, and one to one in the high pitch range. The sound pressure levels were related to the phonation types. Five phonation types, instead of only the two phonation types (modal voice and falsetto) that are identified in traditional Kunqu Opera singing theory, were concomitantly used in the young male role’s artistic voices. These phonation types were more similar to those of the young female roles than to those of the other male roles in the Kunqu Opera.

scholarly journals The voice, text, and the visual as semiotic companions: an analysis of the materiality and meaning potential of multimodal screen feedback

2021 ◽  
Author(s):  
Clare Tyrer
Keyword(s):  
Student Teachers ◽  
Research Literature ◽  
Written Feedback ◽  
Feedback Process ◽  
Teachers Perceptions ◽  
Initial Teacher Training ◽  
The Relationship ◽  
The Voice ◽  
Structured Video

AbstractThe gap between how learners interpret and act upon feedback has been widely documented in the research literature. What is less certain is the extent to which the modality and materiality of the feedback influence students’ and teachers’ perceptions. This article explores the semiotic potential of multimodal screen feedback to enhance written feedback. Guided by an “Inquiry Graphics” approach, situated within a semiotic theory of learning edusemiotic conceptual framework, constructions of meaning in relation to screencasting feedback were analysed to determine how and whether it could be incorporated into existing feedback practices. Semi-structured video elicitation interviews with student teachers were used to incorporate both micro and macro levels of analysis. The findings suggested that the relationship between the auditory, visual and textual elements in multimodal screen feedback enriched the feedback process, highlighting the importance of form in addition to content to aid understanding of written feedback. The constitutive role of design and material artefacts in feedback practices in initial teacher training pertinent to these findings is also discussed.

scholarly journals Curating the Fieldwork Playlist

2019 ◽  
Vol 43 (2) ◽  
pp. 58-66
Author(s):  
Kieran Fenby-Hulse
Keyword(s):  
Digital Technologies ◽  
The Body ◽  
Research Practice ◽  
History Of ◽  
The Mind ◽  
The Relationship ◽  
The Voice

In this essay, I consider the music that has been chosen as part of the previous essays in this collection. I attempt to understand what this assemblage of musical tracks, this anthropology playlist, might tell us about fieldwork as a research practice. The chapter examines this history of the digital playlist before going on to analyse the varied musical contributions from curatorial, musicological, and anthropological perspetives. I argue that the playlist asks us to reflect on the field of anthropology and to consider the role of the voice, the body, the mind with anthropology, as well as the role digital technologies, ethics, and the relationship between indviduals and the community.

What Was the Voice?

2019 ◽  
pp. 2-17
Author(s):  
Nancy H. Shane Butler
Keyword(s):  
Ancient Philosophy ◽  
Classical Antiquity ◽  
Vocal Performance ◽  
Western Thought ◽  
Written Form ◽  
Relationship Of ◽  
The Relationship ◽  
The Voice

This chapter considers what classical antiquity understood the voice to be, as well as how that understanding has influenced subsequent Western thought. The chapter begins with discussion of song, a term that antiquity applied to written poetry as well as to song proper. It then turns to more general questions about how the Greeks and Romans theorized the relationship of the voice to language. After explaining some of the principal terms for “voice” in both Greek and Latin, the author reviews the vocal theories of various schools of ancient philosophy. He then considers the role of the voice in oratory and the special problems generated by the growing circulation of speeches in written form. He turns finally to a celebrated if perhaps apocryphal vocal performance by a pantomime in Rome in order to consider the tension between the particular voice of an individual and the more generic vocality of antiquity itself

scholarly journals Preconceptual Spectral and Temporal Cues as a Source of Meaning in Speech and Music

2019 ◽  
Vol 9 (3) ◽  
pp. 53 ◽  
Author(s):  
Mark Reybrouck ◽  
Piotr Podlipniak
Keyword(s):  
Multisensory Processing ◽  
Special Focus ◽  
Acoustic Features ◽  
Parts Of Speech ◽  
Speech Prosody ◽  
Temporal Cues ◽  
The Face ◽  
The Relationship ◽  
The Voice

This paper explores the importance of preconceptual meaning in speech and music, stressing the role of affective vocalizations as a common ancestral instrument in communicative interactions. Speech and music are sensory rich stimuli, both at the level of production and perception, which involve different body channels, mainly the face and the voice. However, this bimodal approach has been challenged as being too restrictive. A broader conception argues for an action-oriented embodied approach that stresses the reciprocity between multisensory processing and articulatory-motor routines. There is, however, a distinction between language and music, with the latter being largely unable to function referentially. Contrary to the centrifugal tendency of language to direct the attention of the receiver away from the text or speech proper, music is centripetal in directing the listener’s attention to the auditory material itself. Sound, therefore, can be considered as the meeting point between speech and music and the question can be raised as to the shared components between the interpretation of sound in the domain of speech and music. In order to answer these questions, this paper elaborates on the following topics: (i) The relationship between speech and music with a special focus on early vocalizations in humans and non-human primates; (ii) the transition from sound to meaning in speech and music; (iii) the role of emotion and affect in early sound processing; (iv) vocalizations and nonverbal affect burst in communicative sound comprehension; and (v) the acoustic features of affective sound with a special emphasis on temporal and spectrographic cues as parts of speech prosody and musical expressiveness.

scholarly journals Deconstructing Speech: new tools for speech manipulation

2006 ◽  
Vol 11 (1) ◽  
pp. 73-80
Author(s):  
EDWARD KELLY
Keyword(s):  
Automatic Speech Recognition ◽  
Hidden Markov ◽  
Predictive Coding ◽  
Semiotic Analysis ◽  
Linear Predictive Coding ◽  
Sound Objects ◽  
The Relationship ◽  
The Voice ◽  
Initial Process

My research at the London College of Communication is concerned with archives of recorded speech, what new tools need to be devised for its manipulation and how to go about this process of invention. Research into available forms of analysis of speech is discussed below with regard to two specific areas, feature vectors from linear predictive coding (LPC) analysis and hidden Markov-model-based automatic speech recognition (ASR) systems. These are discussed in order to demonstrate that whilst aspects of each may be useful in devising a system of speech-archive manipulation for artistic use. Their drawbacks and deficiencies for use in art – consequent of the reasons for their invention – necessitate the creation of tools with artistic, rather than engineering agendas in mind.It is through the initial process of devising conceptual tools for understanding speech as sound objects that I have been confronted with issues of semiotics and semantics of the voice and of the relationship between sound and meaning in speech, and of the role of analysis in mediating existing methods of communication. This is discussed with reference to Jean-Jacques Nattiez's Music and Discourse: Towards a Semiology of Music (Nattiez 1987). The ‘trace’ – a neutral level of semiotic analysis proposed by Nattiez, far from being hypothetical as suggested by Hatten (1992: 88–98) and others, is present by analogy to many forms of mediation in modern spoken communication and the reproduction of music, and it is precisely this neutrality with regards to meaning that tools for manipulation of speech must possess, since the relationships between the sound of speech and its meaning are ‘intense’ (after Deleuze 1968).

Regulatory Mechanism of Voice Intensity Variation

1964 ◽  
Vol 7 (1) ◽  
pp. 17-29 ◽  
Author(s):  
Nobuhiko Isshiki
Keyword(s):  
Flow Rate ◽  
Sound Pressure Level ◽  
Sound Pressure ◽  
Low Frequency ◽  
Intensity Variation ◽  
Pressure Level ◽  
Expiratory Muscle ◽  
Laryngeal Control ◽  
The Relationship ◽  
The Voice

The relationship between the voice intensity (sound pressure level), the subglottic pressure, the air flow rate, and the glottal resistance was investigated. Simultaneous recordings were made of the sound pressure level of voice, the subglottic pressure, the flow rate, and the volume of air utilized during phonation. The glottal resistance, the subglottic power, and the efficiency of voice were calculated from the data. It was found that on very low frequency phonation the flow rate remained almost unchanged or even slightly decreased with the increase in voice intensity while the glottal resistance showed a tendency to augment with increased voice intensity. In contrast to this, the flow rate on high frequency phonation was found to increase greatly, while the glottal resistance remained almost unchanged as the voice intensity increased. On the basis of the data it was concluded that at very low pitches, the glottal resistance is dominant in controlling intensity (laryngeal control), becoming less so as the pitch is raised, until at extremely high pitch the intensity is controlled almost entirely by the flow rate (expiratory muscle control).

Voice and Space

2010 ◽  
pp. 102-112
Author(s):  
Richard Coyne
Keyword(s):  
Visual Field ◽  
Film Studies ◽  
Public Spaces ◽  
Mobile Telephony ◽  
Spatial Design ◽  
Spatial Understanding ◽  
The Relationship ◽  
The Voice ◽  
The Way

The widespread use of mobile telephony prompts a reevaluation of the role of the aural sense in spatial understanding. There are clear correlations between voice and space. The attributes of the voice constitute important variables in the way people position themselves in public spaces: to speak, to hear, or to get away from the voice. The voice can connote intimacy, communality, and welcome, but also has the potential for disquiet and disruption, particularly as an unseen acousmêtre, (a term developed in film studies). Spatial design can benefit from an exaggerated consideration of voice, to counteract the primacy already given to the visual field. This chapter examines the relationship between the voice and space in public spaces, and the technologies and practices involved.

scholarly journals Allah, Allah, Allah: The Role of God in the Arab Version of The Voice

Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 412
Author(s):  
Jan Jaap De Ruiter ◽  
Mona Farrag Attwa
Keyword(s):  
The Relationship ◽  
The Voice ◽  
Made In

This article discusses Arabic expressions referring to God, such as inshallah, mashallah, and alhamdulillah in the 2014 season of the Arab version of the talent show The Voice. It discusses the question to what extent these expressions are used by the various actors in the show, in particular its four jury members and three presenters, and it tries to explain why they use them and to what purpose. The analysis is set against the background of the question what the relationship is between ‘language’ (in this case, the various varieties of Arabic) and ‘religion’ (in this case, Christianity and Islam). The analysis yielded nearly 40 Arabic expressions referring to God (Allah or Rabb (Lord)) that together showed up more than 600 times in the 10 episodes of the show that were the object of analysis. The conclusion is that the expressions indeed have ‘religious’ roots but that they have at the same time become part and parcel of not necessarily religiously intended speaking styles expressing all kind of feelings, such as astonishment, surprise, disappointment, etc. This conclusion goes well with observations made in earlier research on the questions at stake.

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