Relevant bibliographies by topics / Creative voice

Academic literature on the topic 'Creative voice'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Creative voice"

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Rossetto, Celeste, and Sandra Chapple. "Creative accounting? The critical and creative voice of students." Assessment & Evaluation in Higher Education 44, no. 2 (September 10, 2018): 216–32. http://dx.doi.org/10.1080/02602938.2018.1492700.

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Kelly, Shirley. "For the Creative Voice of Children." Books Ireland, no. 225 (1999): 265. http://dx.doi.org/10.2307/20631930.

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Merrill, Stephen J. "To Again Feel the Creative Voice." International Journal of Science and Mathematics Education 5, no. 1 (November 14, 2006): 145–64. http://dx.doi.org/10.1007/s10763-006-9047-6.

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Weinberg, Gil. "Voice Networks: The Human Voice as a Creative Medium for Musical Collaboration." Leonardo Music Journal 15 (December 2005): 23–26. http://dx.doi.org/10.1162/lmj.2005.15.1.23.

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The author describes a musical installation that allows players to record, transform and share their voices in a group. A central computer system facilitates the interaction as participants interdependently collaborate in developing their “voice motifs” into a coherent musical composition. Observations of subjects interacting with two different applications that were developed for the installation lead to a discussion regarding the use of abstract sounds as opposed to spoken words, the effect of group interdependency on individual contribution by players and the tension between maintaining autonomy and individuality versus sharing and collaborative group playing.
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Shih, Hsi-An, and Nikodemus Hans Setiadi Wijaya. "Team-member exchange, voice behavior, and creative work involvement." International Journal of Manpower 38, no. 3 (June 5, 2017): 417–31. http://dx.doi.org/10.1108/ijm-09-2015-0139.

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Purpose The purpose of this paper is to conceptualize the links among team-member exchange (TMX), voice behavior, and creative work involvement. Design/methodology/approach A total of 260 employees were participants in this study. All were alumni of a Business School in Indonesia. Data were gathered at two time points four months apart. Hierarchical regression and bootstrapping analyses were conducted to find the effects of TMX on voice behavior and creative work involvement. Findings Results from the analyses showed positive effects of TMX on both voice behavior and creative work involvement. A positive effect of voice behavior on creative work involvement was found. The results also exhibited a partial mediating effect of voice behavior on the relationship between TMX and creative work involvement. Practical implications The findings point to the importance of maintaining TMX quality in work teams for enhancing employee voice and creativity. Organizations may need to develop members’ reciprocal relationship skill in teams and maintain the roles of team leaders to develop the quality of TMX. It is also suggested that the practice of self-management teams may enhance the quality of TMX and voice behavior of employees. Originality/value This paper offers new insight on how levels of TMX may impact on members’ voice behavior and creative work involvement. Longitudinal data may provide a more accurate prediction of the links among TMX, voice behavior, and creative work involvement.
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Hong, Yeri. "Extracting a Voice." Journal of Didactics of Philosophy 4, no. 3 (Special Issue) (December 31, 2020): 177–89. http://dx.doi.org/10.46586/jdph.2020.9589.

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In this article, I suggest a process for teaching writing to the students preparing for the IPO (the International Philosophy Olympiad) essay competition. My teaching process is based on Peter Elbow’s theory of writing, which emphasizes that writing should contain the writer’s real voice and respects both the writer and reader. Elbow’s strategy is also called the binary strategy, as it focuses on the two primary skills behind all writing: creating and criticizing. These two skills work in separate ways and require different steps. I employ Elbow’s writing strategy when teaching IPO essay writing. The IPO essay competition aims to develop creative and critical thinking, which also requires two types of writing: philosophical writing and second-language writing. Elbow’s binary strategy, specifically his focus on the creating skill and criticizing skill, will be helpful for the aim of the IPO essay writing competition.
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Song, Jun, Jianlin Wu, and Jibao Gu. "Voice behavior and creative performance moderated by stressors." Journal of Managerial Psychology 32, no. 2 (March 13, 2017): 177–92. http://dx.doi.org/10.1108/jmp-03-2016-0078.

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Purpose The purpose of this paper is to test the moderating role of work-related stressors on the relationship between voice behavior and the voicer’s creative performance. Design/methodology/approach The sample comprised 781 full-time employees from 16 companies covering six industries in the central region of China. Hierarchical moderated regression analyses were used to test the hypotheses. Findings Results showed that voice behavior had significant positive effect on creative performance. The positive relationship between voice behavior and creative performance was stronger for employees with low challenge stressors as well as for employees with high hindrance stressors. Research limitations/implications This study employs a cross-sectional design with data collected from the same source. Practical implications The findings suggest that employees should be encouraged to voice out their opinions and ideas. Work-related stressors should be treated differently to expand the effects of voice behavior on creative performance. Originality/value This study is one of the few to establish boundary conditions from the contextual perspective on the effect of voice behavior on employee performance. Considering whether work-related stressor is a challenge or a hindrance could possibly result in a better understanding of the role of work-related stressors in the voice behavior-creative performance relationship. An empirical evidence is provided for the positive relationship between voice behavior and employee performance outcomes.
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Sulistyo, Toni, and Susanto Tirtoprojo. "Pengaruh Voice Behavior pada Creative Performance dengan Stressors sebagai Variabel Pemoderasi." Media Riset Manajemen 1, no. 1 (November 30, 2018): 93–107. http://dx.doi.org/10.20961/mrm.v1i1.1.

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This study attempts to determine: 1) Influence of voice behavior on creative performance. 2) The moderation role of challenge stressors on the relationship between voice behavior and creative performance. 3) The moderation role of hindrance stressors on the relationship between voice behavior in creative performance. The population of this study were employees of mass media companies in Surakarta using convenience sampling method with a population of mass media companies and a sample of 150 employees. The sampling technique in this study uses the convenience sampling method. The test in this study uses the instrument test in the form of validity test with the method of confirmatory factor analysis (CFA) and reliability testing with the Cronbach's Alpha method. Testing the hypothesis in this study using hierarchical regression with the help of SPSS 25.0 program. Moderation testing in this study uses the calculation of the formula Baron & Kenny (1986). The results of the research suggest that that: 1) Voice behavior had a positive and significant effect on creative performance. 2) Challenge stressors moderate the influence of voice behavior on creative performance. 3) Challenge stressors moderate the influence of voice behavior on creative performance.
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Naylor, Steven. "Voice: The persistent source." Organised Sound 21, no. 3 (November 11, 2016): 204–12. http://dx.doi.org/10.1017/s1355771816000170.

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Sonic narratives on fixed media can take many forms. We may find complexly nuanced sound productions that rely on a broad range of implied and/or culturally shared non-verbal cues to convey a narrative progression. But we also frequently find creative productions centred upon the human voice, much like traditional storytelling but presented in the wider variety of performed, captured, or constructed contexts enabled by technology. In those productions, human voice without a visible physical source will represent, if only in the historic sense, the essence of the acousmatic – an unseen speaker addressing assembled listeners. And, although precise listener responses to that unseen voice will certainly vary, we typically respond quite strongly when directly addressed by another human voice. What are some of the attributes of voice that can trigger those strong responses? And, more pragmatically, what questions should composers consider as we attempt to harness that power for our own creative ends? In this article, we raise some of those questions for consideration, with the hope that readers – particularly those who are also sonic creators – will seek to answer them through their own creative practice.
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Kirkbride, Jasmin. "Cohesive Plurality." Logos 31, no. 2 (September 4, 2020): 52–56. http://dx.doi.org/10.1163/18784712-03102005.

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Following Peter Elbow’s work on ‘resonant voice’ or ‘presence’, this essay examines the seldom-explored resonance between a text and its writer in the moment of its creation. The essay asks what the boundaries and content of this space might look like, and how this knowledge might positively affect the creative product. It challenges the popular search for a writer’s ‘voice’, instead positing that each writer has a perpetually shifting internal plurality of voices, which unifies the constructivist and social constructionist views of the self. By arguing that the resonance between writer and writing is the experience of this plurality coming to harmony, the essay posits that to create such a resonance involves a balance of simultaneously relinquishing control to the internal choir and learning how to better conduct it.
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Dissertations / Theses on the topic "Creative voice"

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Ferrell, Rosemary Kaye. "Voice in Screenwriting: Discovering/Recovering an Australian Voice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2004.

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This creative practice research explores the concept of an identifiable screenwriter’s voice from the perspective of screenwriting as craft, proposing that voice can be understood and described based on its particular characteristics. Voice is understood to be the authorial presence of the screenwriter, whose mind shapes every aspect of the text. This presence is inscribed in the text through the many choices the screenwriter makes. More than this, the research argues that the choices made inflect the text with a cultural-national worldview. This occurs because of the close association between voice and personal (including cultural/national) identity, and because of the power of textual elements to signify broader concepts, ideas and phenomena belonging to the actual world. The thesis includes an original feature film screenplay evidencing a particular Australian voice, and an exegesis which describes voice and national inflection more fully. The practice research began with the interrogation of voice in a previously-existing screenplay which, though an original work written by an Australian screenwriter – myself – was described as having an American voice. Voice and its mechanisms were then further investigated through the practice of writing the original screenplay, Calico Dreams. Theories of voice from within literary theory, and the concept of mind-reading, from cognitive literary theory, acted as departure points in understanding voice in screenwriting. Through such understanding a conceptual framework which can assist practitioners and others to locate aspects of voice within a screenplay, was designed. This framework is a major research outcome and its use is illustrated through the description of voice in the screenplay, Calico Dreams. The research found that screenwriter’s voice serves to unify and cohere the screenplay text as an aesthetic whole through its stylistic continuities and particularities. Through the voice, the screenwriter also defines many of the attributes and characteristics of the film-to-be. A theory of screenwriter’s voice significantly shifts the theoretical landscape for screenwriting at a time when an emerging discourse of screenwriting is developing which can enrich understandings of the relationship between the screenplay and its film.
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Hancox, Donna Maree. "Two voices : the marginalised body as a voice & Imperfect Offerings a novel." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/31849/1/Donna_Hancox_Thesis.pdf.

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This thesis investigates the phenomenon of self-harm as a form of political protest using two different, but complementary, methods of inquiry: a theoretical research project and a novel. Through these two approaches, to the same research problem, I examine how we can re-position the body that self-harms in political protest from weapon to voice; and in doing so find a path towards ethical and equitable dialogue between marginalised and mainstream communities. The theoretical, or academic, portion of the thesis examines self-harm as protest, positing these acts as a form of tactical selfharm, and acknowledge its emergence as a voice for the otherwise silenced in the public sphere. Through the use of phenomenology and feminist theory I examine the body as site for political agency, the circumstances which surround the use of the body for protest, and the reaction to tactical self-harm by the individual and the state. Using Bakhtin’s concept of dialogism, and the dialogic space I propose that by ‘hearing’ the body engaged in tactical selfharm we come closer to entering into an ethical dialogue with the otherwise silenced in our communities (locally, nationally and globally). The novel, Imperfect Offerings, explores these ideas in a fictional world, and allows me to put faces, names and lives to those who are compelled to harm their bodies to be heard. Also using Bakhtin’s framework I encourage a dialogue between the critical and creative parts of the thesis, challenging the traditional paradigm of creative PhD projects as creative work and exegesis.
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Fisk, Brent Allen. "History Has the Voice of a Bird-Filled Tree." TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1291.

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This creative thesis, History Has the Voice of a Bird-Filled Tree, is a collection of poems about the communal, familial, and physical landscapes we grow up in. The manuscript explores the accidental body of knowledge we accumulate over a lifetime: those lessons we do not actively seek to learn and that no one sets out to teach us, but that mark us, and make us who we are. The landscape of this manuscript is not an exact replication of an existing town or existing family, but what the poet Richard Hugo refers to as a “triggering town.” This removal frees the internal biographer and historian to write openly about experiences without guilt or sanitization of a symbolic past. The narrative is mostly true with just enough fibbery to protect both the innocent and guilty alike.
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Williams, Evan. "The Leaving Symphony| Musicality and Voice in the Poetry of Trauma, Addiction, and Redemption." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785346.

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The Leaving Symphony: Musicality and Voice in the Poetry of Trauma, Addiction, and Redemption represents two years of my critical and creative writing while attending the California State University, Long Beach M.F.A. in Creative Writing program. Evident in the poems of this manuscript, my major themes include trauma, addiction, and personal redemption, all through the intimate lens of my family and myself. Crucial to my writing is the evolution of those struggles, seen in the organization of the poems in this thesis. The methodological essay at the beginning of this project details my process and influences, followed by a full-length collection of poetry. My poetry is highly musical thanks to the inspiration of both my musician father and several writers, such as Sylvia Plath and Dean Young; my work also possesses a distinctive voice that took me decades to find, especially as a poet. This thesis documents that growth and eventual catharsis in writing.

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Epple, Dorothea Marie. "The creative inner voice a study of the Intensive Journal (TM) /." Click here for text online. The Institute of Clinical Social Work Dissertations website, 2002. http://www.icsw.edu/_dissertations/epple_2003.pdf.

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Dissertation (Ph.D.) -- The Institute for Clinical Social Work, 2002.
A dissertation submitted to the faculty of the Institute of Clinical Social Work in partial fulfillment for the degree of Doctor of Philosophy.
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Scott, Natalie. "Screams underwater : submerging the authorial voice : a polyphonic approach to retelling the known narrative in Berth ; Voices of the Titanic : a poetry collection by Natalie Scott." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/6582/.

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This PhD thesis is comprised of my poetry collection: Berth - Voices of the Titanic (Bradshaw Books, 2012) and a critical commentary which discusses the collection both in printed and performed contexts. Berth is a collection of fifty poems taking a range of forms, including dramatic monologue, and found, sound and concrete poems. It was published and performed to coincide with the centenary of the Titanic disaster on April 14th 2012. The collection encourages an audience to see and hear Titanic in a distinctive way, through the poetic voices of actual shipyard workers, passengers, crew, animals, objects, even those of the iceberg and ship herself. Though extensively researched, it is not intended to be a solely factual account of Titanic’s life and death but a voiced exploration of the what-ifs, ironies, humour and hearsay, as well as painful truths, presented from the imagined perspective of those directly and indirectly linked to the disaster. The critical commentary introduces the notion of factional poetic storytelling and, supported by Julia Kristeva’s definition of intertextuality, considers the extent to which Berth is an intertext. Drawing on both literary works and critical theory, it considers the dominant, objective, authorial voice as a way of closing a text, and contrastingly presents polyphony, with its multiple viewpoints, as a way of opening up a text, in the process of moving towards retelling a well-known story in a distinctive way. I use Plato’s concept of mimēsis to make connections between polyphony and intertextuality and my creative work is then contextualised in terms of other intertexts published as creative responses to historical events, culminating in the story of the Titanic. I show how Berth is distinctive in its way of telling. Supported by reader-response theories, I discuss the reader’s role in shaping a text and participating in the process of its reception as an open, dialogic work. Illustrated by examples from canonical poems, the commentary next defines monophony in order to draw out the characteristics of polyphony and its relationship with Bakhtin’s concepts of dialogism, addressivity, defamiliarization, collage and the carnival. Exemplified by Berth, the ensuing exploration of Bakhtinian thought shows that the concept of dialogism, which he applies exclusively to the novel, is readily applicable both to a narrative poetry collection that is novelistic but also to standalone poems. The commentary then makes connections between polyphony and performance poetry - specifically the dramatic monologue - and other open forms influenced by British and American modernist poetic techniques. I use examples from British Poetry Revival works to characterise the forms of found, sound and concrete poem. Robert Sheppard’s critical notion of the ‘saying’ and the ‘said’ (informed by Mikhail Bakhtin’s dialogism and Umberto Eco’s notion of the ‘open work’) helps me to explore how such forms influenced my own creative practice - in the printed and staged versions of Berth - and fulfilled the principal aim of the work: to use polyphonic methods in a way that contributes a voice distinctive from the existing works on the subject of the Titanic. In conclusion, I argue that polyphony is a significant device for poetry that aims to present a fresh perspective on a story which has been told many times before.
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Dyer, Emily L. "Sugar Nine: A Creative thesis." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1342.

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This collection of short stories explores the different ways women tolerate violence in exchange for some form of validation. The narratives focus on women and the reverberations of small moments which carry violent mass. While the violence occasionally includes physical elements, the collection is more concerned with the ways women accept emotional and psychological violence—specifically from men. Themes, motifs and symbols from the Clytie-Helios myth are threaded throughout the collection as well as a concern for space and touch, art and the creation of art, silence and voice. All of these elements involve control as the women characters in these stories struggle to resist their own objectification. A critical introduction which explains how form and language amplify story precedes the collection.
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Couzins, Richard. "Inside out : the under-theorised object and material voice in fine art practice." Thesis, University of Brighton, 2014. https://research.brighton.ac.uk/en/studentTheses/43e6e0bf-6b83-4b78-a232-0dbbed6c3c41.

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The human voice is significant to culture and communication and its agency differs across the heterogeneous discourses within which it is listened to and produced. This thesis assesses what the voice does in Fine Art practice where it is under-theorised but often used by artists. The research questions are: how does a voice register as a material and an object (physical material presence), rather than equating only to the subject who produces it? And how can an artist produce a direct address with their voice? The thesis examines the nature of direct vocal address in Fine Art practice with the installation Trialogue (2013) and with the discussion of case studies that privilege the voice. Trialogue uses three screens to emphasise the action of voices and vocal genres. Four single screen video works are played over three screens during which the audience hears a jazz singer, children and my voice. We are familiar with our voices presenting our selves, but in Fine Art practice the voice is reproduced, and behaves as a material and object. Artworks and theories divide around the reduction and parameters of voice as production of a human subject and as an object in the material world. Therefore the voice is described with a combination of phenomenological, psychoanalytical and cultural theories. The thesis critically examines theories of Dolar (2006), Ihde (2007), Sperber and Wilson (1995), and Bakhtin (1986) in relation to the phenomenon of the voice in Fine Art practice. The thesis describes how the genre, physical space, consequences of reproduction, and action of listening are emphasised by critical Fine Art practice. Bakhtin describes all utterance as having a genre, and phenomenological theories relate voice to perceptual hierarchy and its relationship with the visual realm. The voice is described as a partial object in psychoanalytical theory. The idea of palimpsest is used as a partial space to situate the object voice. The chapters theorise the voice in Fine Art practice as: object and reproduction; the relationship voices have with images in moving image art practice; and the voice and self.
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Williams, Denise Rochelle. "The vagaries of voice in the composing process." CSUSB ScholarWorks, 1989. https://scholarworks.lib.csusb.edu/etd-project/445.

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Blankenship, Angella Sorokina Getsi Lucia Cordell. "Voice beyond self a theory and pedagogy of polyphonic expression in writing /." Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9924342.

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Thesis (Ph. D.)--Illinois State University, 1998.
Title from title page screen, viewed July 12, 2006. Dissertation Committee: Lucia C. Getsi (chair), James Elledge, William Woodson. Includes bibliographical references (leaves 196-200) and abstract. Also available in print.
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Books on the topic "Creative voice"

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(Organisation), Rural Voice. Planning as a creative voice: A Rural Voice policy statement. Cirencester: Rural Voice, 1990.

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Creative music composition: The young composer's voice. New York: Routledge, 2006.

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Voice to voice: The girls write now 2015 anthology. New York, NY: Girls Write Now, 2015.

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Keyes, Elizabeth. Toning: The creative and healing power of the voice. Camarillo, Calif: DeVorss Publications, 2008.

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Frank, Thaisa. Finding your writer's voice: A guide to creative fiction. New York: St. Martin's Press, 1994.

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1926-, Wall Dorothy, ed. Finding your writer's voice: A guide to creative fiction. New York: St. Martin's Press, 1994.

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1926-, Wall Dorothy, ed. Finding your writer's voice: A guide to creative fiction. New York: St. Martin's Griffin, 1997.

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1946-, Campbell Don G., ed. Toning: The creative and healing power of the voice. Camarillo, Calif: DeVorss Publications, 2008.

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Parables as poetic fictions: The creative voice of Jesus. Peabody, Mass: Hendrickson Publishers, 1994.

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Frank, Thaisa. Finding your writer's voice: A guide to creative fiction. New York: St. Martin's Press, 1994.

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Book chapters on the topic "Creative voice"

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Yeh, Jane. "Voice and language." In Creative Writing, 235–59. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003189169-16.

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Steer, Maxwell. "The Creative Voice." In The Aesthetics of Enchantment in the Fine Arts, 171–88. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-3234-5_11.

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Thorpe, Ryan. "Developing Voice." In Teaching Creative Writing to Second Language Learners, 187–201. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003043492-14.

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Nuss, Melynda. "Creative Spectacle." In Distance, Theatre, and the Public Voice, 1750–1850, 151–70. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137291417_6.

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Jankowska, Maja. "Bilingual Creative Writing Clubs." In Pupil, Teacher and Family Voice in Educational Institutions, 55–75. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429505669-4.

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Moors, Thomas, and Evangelos Himonides. "Voicing Plural Creative Experiences without a Voice." In The Routledge Companion to Creativities in Music Education, 492–504. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003248194-47.

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Ruopp, Amy. "Validation of the Visual Voice." In Encounters With Theory as Conceptual Medium and Creative Practice, 121–37. London: Routledge, 2022. http://dx.doi.org/10.4324/9780367823818-7.

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Tanaka, Kaoru, and Susumu Kunifuji. "Personalized Voice Navigation System for Creative Working Environment." In Lecture Notes in Computer Science, 851–58. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11893011_108.

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Happell, Brenda, and Cath Roper. "The voice of experience: Consumer perspective in the classroom." In Creative Approaches to Health and Social Care Education, 97–112. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-22639-6_8.

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MacDougall, Don, Rita L. Irwin, Adrienne Boulton, Natalie LeBlanc, and Heidi May. "Encountering Research as Creative Practice: Participants Giving Voice to the Research." In Studies in Arts-Based Educational Research, 31–60. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61560-8_3.

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Conference papers on the topic "Creative voice"

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Aziz, Farkhandah, Chris Creed, Maite Frutos-Pascual, and Ian Williams. "Inclusive Voice Interaction Techniques for Creative Object Positioning." In ICMI '21: INTERNATIONAL CONFERENCE ON MULTIMODAL INTERACTION. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3462244.3479937.

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Aziz, Farkhandah, Chris Creed, Sayan Sarcar, Maite Frutos-Pascual, and Ian Williams. "Voice Snapping: Inclusive Speech Interaction Techniques for Creative Object Manipulation." In DIS '22: Designing Interactive Systems Conference. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3532106.3533452.

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Sen, Tjong Wan. "Voice Activity Detector for Device with Small Processor and Memory." In 2019 International Conference on Sustainable Engineering and Creative Computing (ICSECC). IEEE, 2019. http://dx.doi.org/10.1109/icsecc.2019.8907081.

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Jewell, Jessica. "And Now My Voice Is Rising: Creative Writing in Narrative Methodology." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1443965.

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Trocinel, Daniela. "Sketches on the creative portrait of the composer A. B. Mulear." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.15.

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This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear, the author shows that chamber works predominate for the most part in his creativity, including suites, quartets, sonatas, miniatures and musical pieces, with a wide range of instrumental groups: from the duo (violin and piano, piano and voice) to the symphony orchestra. In conclusion, it is noted that the composer manifested himself in an original way in chamber music, which is more innovative and bright and reveals diverse forms of classical music in terms of style and genre.
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Moiseeva, Victoria Victorovna. "«Воспитательно-образовательные возможности авторской песни на примере песни В.Моисеевой "О Войне" и песни "Гурзуф" из цикла песен В. Моисеевой «Крымские Арабески»»." In Аll-Russian scientific and practical conference. TSNS Interaktiv Plus, 2021. http://dx.doi.org/10.21661/r-555104.

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Today there is an acute problem of educating the creative potential of the younger generations, their artistic taste, preferences. Among the goals and objectives of education - the formation of artistic thinking (and as a variety - musical thinking) is very relevant. Therefore, the article considers some problems of the development of creative activity as the basis of artistic and musical thinking. Based on the study of the methodology of working on songs, it is necessary to determine the effectiveness of the influence of the author's song for voice and piano accompaniment on the formation of holistic ideas about the surrounding nature, the social environment of the cities of Crimea, the place of a person in it, self-esteem, the harmonious manifestation of patriotic feelings. Creation and testing of a song cycle as an accompanying material in solving the tasks of the regional component in education.
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Fukuda, Shuichi. "Best for Whom? Changing Design for Creative Customers." In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28330.

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Our traditional design has been producer-centric. But to respond to the frequent and extensive changes and increasing diversification, we have to change our design to user-centric. But it is not a straightforward extension and just listening to the voice of the customer is not enough. Value is defined as value = performance/cost, but performance has been interpreted in the current design solely as functions of a final product and all other factors such as manufacturing are considered as cost. This framework has been effective until recently because there has been asymmetry of information between the producer and the customer. As the producer had a greater amount of information, they only had to produce a product which they think best and it really satisfied the customer who needed a product. The 20th century was the age of products. But as we approached the 21st century, we entered information society and sometimes the customer knows more than the producer. Thus, such a one way flow of development to fill the information (water level) gap doe not work any more, because the gap is quickly disappearing. The difference was evaluated as value in the traditional design and it meant profit for the producer. Therefore, a new approach to create value is called for. One solution is to raise the water level together by the producer and the customer so that the level increase serves for profit for the producer and for the true value for the customer. In order to achieve this goal, we have to identify what is the true value for the customer. We have to step outside of our traditional notion of value being functions of a final product. What is the true value for the customer? It is customers’ satisfaction. Then, how can we satisfy our customers. This paper points out if we note that our customers are very active and creative, we can provide satisfaction to them by getting them involved in the whole process of product development. Then our customers can enjoy not only product experience but also process experience, which will satisfy their needs for self actualization and challenge, i.e., their highest human needs.
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Morawitz, Falk. "Multilayered Narration in Electroacoustic Music Composition Using Nuclear Magnetic Resonance Data Sonification and Acousmatic Storytelling." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.052.

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Nuclear magnetic resonance (NMR) spectroscopy is an analytical tool to determine the structure of chemical compounds. Unlike other spectroscopic methods, signals recorded using NMR spectrometers are frequently in a range of zero to 20000 Hz, making direct playback possible. As each type of molecule has, based on its structural features, distinct and predictable features in its NMR spectra, NMR data sonification can be used to create auditory ‘fingerprints’ of molecules. This paper describes the methodology of NMR data sonification of the nuclei nitrogen, phosphorous, and oxygen and analyses the sonification products of DNA and protein NMR data. The paper introduces On the Extinction of a Species, an acousmatic music composition combining NMR data sonification and voice narration. Ideas developed in electroacoustic composition, such as acousmatic storytelling and sound-based narration are presented and investigated for their use in sonification-based creative works.
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Niebuhr, Oliver. "Advancing higher-education practice by analyzing and training students' vocal charisma: Evidence from a Danish field study." In Seventh International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/head21.2021.12827.

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Charismatic speaking skills, particularly those of the voice, are known to be an important asset of managers, politicians, and even teachers. Students have so far been less in the limelight in this regard, although modern collaborative-learning and oral-examination concepts suggest that vocal charisma can already be a decisive factor for study success as well. The present paper examines this question based on 82 electrical-engineering students. Their initial self-introductions in front of the other fellow students were analyzed using a new acoustic technology that translates 16 voice features into a total vocal charisma (PASCAL) score. Results show that these PASCAL scores are overall low (i.e. improvable) and positively correlated with the oral exam grades of both individual students and student teams. Moreover, the teams' PASCAL scores positively correlate with the per-formance in the "Marshmallow Challenge", i.e. a creative teamwork task. Additional in-depth analyses show that teams without any above-average charismatic student performed worst, but that teams with more than one above-average charismatic student struggled with leadership conflicts and solo actions. We interpret our findings as a strong plea for (vocal) charisma analysis to be integrated in higher-education practice both for managing team dynamics and performance and for increasing individual study success.
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Takatama, Mirai, and Wonseok Yang. "Remote Cheering System with Voice in Live Streaming." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001753.

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In recent years, live streaming has become the mainstream. Because the music live has been canceled or postponed by the influence of the new coronavirus infection. Even now that the number of infected people is decreasing, hybrid live performances with both concert and live streaming are being held. Live streaming can reduce travel costs and time, so it has the merit of being able to watch it easily. However, it is difficult to feel a sense of unity and presence, and it does not create more excitement than concert. It has become a problem in the music industry. In order to solve this problem, we think it is necessary to pay attention to the presence or absence of audience sharing the same place and voice, which is a big difference between concert and live streaming. This study examines how to make it satisfactory live where we can feel a sense of unity and presence even if we are alone at home in a live streaming. To this end, we clarified the behavior of the audience watching concert and analyzed how to cheer.Therefore, we conducted a survey of the excitement of it based on the pyramid of Freytag.We investigated the behavior of the audience from concert videos of idols, singers and rock bands. As a result, audience’s cheering method has three types of cheering: those using voice, those using hands and those using entire body. Cheering using voice plays an important role in deciding the excitement.Live streaming has comments, social tipping, and posting on SNS as a service. However, none of them share the voice of the audience. This analysis clarified the reason why live streaming is not more exciting than concert. Thereby we considered that sharing emotions aloud between the audience create a sense of unity in live streaming. From the above, we produce a live streaming cheering system using voice. This system uses the call program to communicate with other audiences, visualize the voice of the audience and project it on the screen. It’s mechanism that increases the number of effects that express excitement as the audience’s voice gets louder. We produce it to use TouchDesigner. Moreover, subjects watched the concert video with this system. we experimented with whether the subject felt a sense of unity and presence compared to conventional live streaming. Subjects were able to shout even more by sharing voices with other audiences and visualizing their voices. In addition, conventional live streaming shared emotions by discussing their impressions with other audiences using SNS. By contrast, this system can share emotions directly through the call program, which makes it more exciting. On the other hand, subjects have an opinion that it would be better to project effects tailored to the concept of songs and concerts on the screen so that the audience would not get bored. Therefore, this system is room for the development. From this experiment, the remote cheering system using voice improve the concert experience at home.
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Reports on the topic "Creative voice"

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Nazneen, Sohela. Women’s Leadership and Political Agency in Fragile Polities. Institute of Development Studies, June 2022. http://dx.doi.org/10.19088/ids.2022.046.

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Recent evidence from Afghanistan shows that even in the most difficult contexts, women will still protest for their rights. This paper draws on evidence from the Action for Empowerment and Accountability (A4EA) research programme to show how women express their political agency and activism and seek accountability in repressive contexts. A4EA research looked at cases of women-led protest in Egypt, Mozambique, Nigeria, and Pakistan, and explored women’s political participation in Nigeria and Pakistan. The research shows that despite some success in claim-making on specific issues, ‘sticky norms’ and male gatekeeping prevail and govern women’s access to public space and mediate their voice in these contexts. The paper concludes by calling on donors to go beyond blueprints in programming, and to work in agile and creative ways to support women’s rights organising.
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ARUTYUNYAN, D. D. GRAMMAR ANALYSIS AS A MEANS OF NOTIONAL FUNDAMENTALS CREATION. Science and Innovation Center Publishing House, April 2022. http://dx.doi.org/10.12731/2077-1770-2021-14-1-3-43-50.

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The article is devoted to the analysis of the Passive Voice to search for the learners’ language mistakes. Analysis of the Passive Voice definition, given by different linguist, is performed. The causes of notional difficulties, the ways of notional fundamentals creation for the learners of English are presented.
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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
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Hunter, Matthew, Laura Miller, Rachel Smart, Devin Soper, Sarah Stanley, and Camille Thomas. FSU Libraries Office of Digital Research & Scholarship Annual Report: 2020-2021. Florida State University Libraries, July 2021. http://dx.doi.org/10.33009/fsu_drsannualreport20-21.

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The Office of Digital Research and Scholarship partners with members of the scholarly community at FSU and beyond to engage with and act on innovative ideas in teaching, research, and creative activity. We privilege marginalized voices and unique contributions to scholarly discourse. We support interdisciplinary inquiry in our shared pursuit of research excellence. We work with scholars to explore and implement new modes of scholarship that emphasize broad impact and access.Our dream is to create an environment where our diverse scholarly community is rewarded for engaging in innovative modes of research and scholarship. We envision a system of research communication that is rooted in open, academy-owned infrastructure, that privileges marginalized voices, and that values all levels and aspects of intellectual labor. In addition to the accomplishments related to our core work areas outlined in this report, we also developed an Anti-Racist Action Plan in 2020 and continue to work on enacting and periodically revising and updating the goals outlined therein.
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Mwiine, Amon Ashaba, Josephine Ahikire, Jovah Katushabe, Harriet Pamara, and Aklam Amanya. Unravelling Backlash in the Journey of Legislating Sexual Offences in Uganda. Institute of Development Studies, January 2023. http://dx.doi.org/10.19088/ids.2023.007.

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This paper interrogates the reality of gender backlash in Uganda by tracing the process of legislating on the 2019 Sexual Offences Bill (SOB). We trace the early beginnings of the Bill by highlighting the motivation that guided the framing of the Bill, the role of individual actors and alliances in pushing for the gender equity reform, and the oppositional forces against the reform. Working with participatory forms of qualitative research methods, the focus on the legislative cycle of the SOB as a policy case aimed to enable us to understand what constitutes backlash, and its drivers and manifestations. While this approach is an opportunity to contribute to and broaden conceptual debates on gender backlash in Uganda and beyond, it is also aimed at working closely with women’s rights activists to identify forms of backlash and inform feminist voice and response to the opposition dynamics and the impact on the gender equality agenda – thereby contributing to creating capacity in voice to counter backlash against gender justice.
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Wachen, John, Mark Johnson, Steven McGee, Faythe Brannon, and Dennis Brylow. Computer Science Teachers as Change Agents for Broadening Participation: Exploring Perceptions of Equity. The Learning Partnership, April 2021. http://dx.doi.org/10.51420/conf.2021.2.

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In this paper, the authors share findings from a qualitative analysis of computer science teachers’ perspectives about equity within the context of an equity-focused professional development program. Drawing upon a framework emphasizing educator belief systems in perpetuating inequities in computer science education and the importance of equity-focused teacher professional development, we explored how computer science teachers understand the issue of equity in the classroom. We analyzed survey data from a sample of participants in a computer science professional development program, which revealed that teachers have distinct ways of framing their perceptions of equity and also different perspectives about what types of strategies help to create equitable, inclusive classrooms reflective of student identity and voice.
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Denaro, Desirée. How Do Disruptive Innovators Prepare Today's Students to Be Tomorrow's Workforce?: Scholas' Approach to Engage Youth. Inter-American Development Bank, December 2020. http://dx.doi.org/10.18235/0002899.

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The lack of motivation and sense of community within schools have proven to be the two most relevant factors behind the decision to drop out. Despite the notable progress made in school access in countries in Latin America and the Caribbean, dropping out of school has still been a problem. This paper explores Scholas Occurrentes pedagogical approach to address these dropouts. Scholas focuses on the voice of students. It seeks to act positively on their motivation by listening to them, creating spaces for discussion, and strengthening soft skills and civic engagement. Scholas aims to enhance the sense of community within schools by gathering students from different social and economic backgrounds and involving teachers, families, and societal actors. This will break down the walls between schools and the whole community. This paper presents Scholas work with three examples from Paraguay, Haiti, and Argentina. It analyzes the positive impacts that Scholas' intervention had on the participants. Then, it focuses on future challenges regarding the scalability and involvement of the institutions in the formulation of new public policies. The approach highlights the participatory nature of education and the importance of all actors engagement.
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Broadberry, Stephen, Nicholas Crafts, Leigh Gardner, Rocco Macchiavello, Anandi Mani, and Christopher Woodruff. Unlocking Development: A CAGE Policy Report. Edited by Mark Harrison. The Social Market Foundation, November 2014. http://dx.doi.org/10.31273/978-1-904899-98-3.

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The world’s poor are ‘trapped’ in poverty. How can we unlock development so that poor countries can sustain economic growth over long periods of time? Our report considers this problem on three levels, the national economy, the private sector, and citizenship. At the core of each chapter is new research by CAGE members and associates. Chapter 1 addresses the factors underlying sustainable growth of the national economy. Chapter 2 looks for the sources of business capacity and sustainable growth of the private sector. Chapter 3 links citizenship to economic development, showing how political voice can enable women to participate more freely in society and the economy. In all three chapters we show how economic development relies on the rule of law, including a framework of laws and their enforcement that is applied to all and accessible by all. We show how, without such a framework, the sustainable growth of national economies and their businesses is threatened when laws fail to resolve conflicts. This failure is often accompanied by corruption or violence. So, we discuss what can be done to promote the rule of law; to make economic growth more stable and sustainable; to enhance the capacity of business organisations that are most likely to attract, grow and create jobs; and to enable women to play a full part in economic development as citizens, providers, and entrepreneurs. Foreword by Frances Cairncross; Introduced by Nicholas Crafts.
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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