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Stingel-Voigt, Yvonne. "Functions and Meanings of Vocal Sound in Video Games." Journal of Sound and Music in Games 1, no. 2 (2020): 25–43. http://dx.doi.org/10.1525/jsmg.2020.1.2.25.
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The following article gives a short overview of some functions of vocal sounds in video games. The sound of voices contributes to the realization of fictitious game worlds, since it makes the fictitious world appear significantly more real. I briefly cover the atmospheric and emotional function of the sound of voices as well as how they are utilized in video games for supporting characters. In lieu of discussing dialogues and linguistically conveyed information, I focus on the sound of voices and their influence in generating feelings and moods, and thus how they contribute to a deepening of the immersion of the player. These considerations are based on Michel Chion's concept that sound may have an added value—the recipient assigns a special meaning to a sound, which enriches the audiovisual experience. For this purpose, I analyze a number of games in short case studies in regard to their utilization of vocal sounds with added value. The research is further contextualized through Karen Collins's concept of embodied cognition, as discussed in her seminal work Playing with Sound: A Theory of Interacting with Sound and Music in Video Games and “Making Gamers Cry: Mirror Neurons and Embodied Interaction with Game Sound.”
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BERRY, GABRIELLE. "[inaudible]: Point of Audition Representations of Deafness and the Cochlear Implant in A Quiet Place (2018)." Music, Sound, and the Moving Image 15, no. 2 (December 1, 2021): 109–31. http://dx.doi.org/10.3828/msmi.2021.8.
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Interrogating point of audition (POA) sound through the silences, noises, and closed captions of A Quiet Place’s critically lauded soundscapes, this article examines the ways point of audition aurally and rhetorically constructs deafness, technology, and the audio-viewer. In its sonic rendering of the post-apocalyptic world, A Quiet Place actively involves the audio-viewer in its fantastical conceit and ‘fantasy’ of deafness, folding the audience into the complex cyborgian politics and potential of the malfunctioning cochlear implant. This diegetic technological breakdown merges and tangles with the technology of the film, the point of audition sound highlighting the immersive capabilities and audist expectations of cinematic soundscapes. Yet, in this straining towards ‘immersion’, the uncaptioned silences of Regan’s point of audition further accentuate issues of access, raising questions of the composition and meaning of immersion and silence. Through the shades of silence and sharp whining feedback of A Quiet Place, this article ultimately details the possibilities and complications of analysing point of audition sound, in the process, illustrating the harmonic resonation of the studies of sound, deafness, and disability. This article is the winner of the 2020 Claudia Gorbman Graduate Student Writing Award, selected by the Sound and Music Special Interest Group of the Society for Cinema and Media Studies in conjunction with Music, Sound, and the Moving Image.
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Tudini, Vincenza. "Virtual immersion." Australian Review of Applied Linguistics. Series S 18 (January 1, 2004): 63–80. http://dx.doi.org/10.1075/aralss.18.05tud.
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Most studies in the field of synchronous Computer Mediated Communication (CMC) deal with interactions between language learners, while interactions between native speakers (NS) and learners have not been explored to the same extent, particularly to ascertain whether chatting with NS can provide a pedagogically sound bridge to conversation. Through the analysis of interactions within a NS Italian chatline, this paper considers whether the chatline environment can act as a bridge to conversational Italian by providing the same opportunities for second language acquisition reputedly offered by face-to-face interaction. Italian NS chatline discourse is analysed for its conversational ‘flavour’ by considering variety of Italian, range of topics, questions, discourse markers, feedback tokens and negotiations. The findings of this study suggest that NS chat discourse can provide learners with exposure to colloquial and regional varieties of Italian, which are generally unavailable in language textbooks. Furthermore, NS chatline discourse offers learners a type of informal conversational practice which also includes negotiation of meaning, thus confirming its role in promoting language learning.
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Freitas, Joana. "Kill the Orchestra." Journal of Sound and Music in Games 2, no. 2 (2021): 22–41. http://dx.doi.org/10.1525/jsmg.2021.2.2.22.
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In the age of participatory and convergence paradigms, video game music has its own networked culture with cybercommunities that discuss, share, and create content, thus opening up a creative space for artistic activities in a constant digital flow. Music composition and production is one of these activities, with files made available on several platforms such as SoundCloud and YouTube, specifically in the format of modification files (or mods). Building on research for a master’s dissertation, this article examines a new model of online artistic production in the form of the circulation of musical mods that were composed and shared on the Nexus Mods platform for the The Elder Scrolls IV: Oblivion and The Elder Scrolls V: Skyrim video games. These mods add new musical material that is similar to the existing soundtrack of both titles, but the majority of the files in this platform’s audio category are related only to sounds, not to musical composition. By using titles such as “better sounds” or “immersive sounds” to describe their additions, many modders aim to give other gamers a more immersive experience in the game(s). In this case, immersive relates not only to the musical style and sound quality of the aural effects but also a plausible construction of the reality in which the gamers live, play, and negotiate meaning relating to their own social context. Intersecting “playbour,” fandom, aural immersion, and audiovisual literacy, these audio modders work on adding new layers to the soundscapes and environments of the virtual worlds presented in the two games. The modders regard immersion as a key aspect of design and playability, and they contribute audio material to enable their social capital and visibility on online platforms.
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Kinnear, Tyler. "Voicing Nature in John Luther Adams's The Place Where You Go to Listen." Organised Sound 17, no. 3 (January 11, 2012): 230–39. http://dx.doi.org/10.1017/s1355771811000434.
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John Luther Adams's The Place Where You Go to Listen (2006), a permanent sound-and-light installation at the Museum of the North in Fairbanks, Alaska, resonates strongly with the geography and ecology of the composer's place of residence. The audiovisual experience is generated through a computer programme that translates real-time data streams from geophysical events into sound and colour signals. The Place functions as an artistic mirror, absorbing data from natural phenomena and reflecting it back to the listener in a deliberately allusive way. As a result, those present are invited to raise their awareness to the ‘unheard vibrations’ of the natural world.Upon entering the installation, the listener perceives an ongoing, harmonically dense hum. Through immersion, he or she notices change in both the location from which sounds project and the properties of audio and visual signals. Drawing on information theory, this article investigates the process whereby Adams renders scientific data into an audiovisual presentation as well as the role the composer and audience play in attributing meaning to this environmentally driven work. By examining the communicative layers of the installation and exploring the perceptual tendencies of the listener, we can better understand how The Place raises environmental awareness.
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Singer, Michael J., and Bob G. Witmer. "On Selecting the Right Yardstick." Presence: Teleoperators and Virtual Environments 8, no. 5 (October 1999): 566–73. http://dx.doi.org/10.1162/105474699566486.
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In an article that discussed both the conceptual aspects of presence and the practical considerations of measuring the concept (Witmer & Singer, 1998), we argued that both involvement and immersion are necessary for experiencing presence. The article also presented two questionnaires we have developed, an Immersive Tendencies Questionnaire (ITQ) and a Presence Questionnaire (PQ). Our analyses showed that they are internally consistent with high reliability, there is a weak but consistent positive relation between presence and performance, the ITQ predicts presence as measured by the PQ, and individuals reporting more simulator sickness symptoms report less presence than those reporting fewer symptoms. In this issue, Slater (1999) critiques our approach to measuring presence as represented by the PQ. Dr. Slater finds our definitions of presence helpful and that our concept of immersion is part of his understanding of the meaning of presence. Dr. Slater then argues that both our approach to measuring presence and the PQ are conceptually flawed. In his critique, he raises statistical questions about our measure, concluding that the PQ is not a measure of presence at all. He concludes by arguing against the validity of the measure and stating that he would not use the PQ in his research. In this article, we argue that the PQ is based in the same conceptual structure that is accepted by Dr. Slater, and that the PQ represents a fundamentally sound approach—although not the only approach—to measuring presence. Dr. Slater's statistical arguments are shown to be incorrect simplifications, as he acknowledges in his critique. We also demonstrate that individual PQ items still correlate significantly with the PQ total score even when the PQ total is adjusted to remove the score on individual items from that total. Finally, we rebut Slater's argument concerning the validity of the measure, and suggest that researchers not be constrained by an equipment-oriented model of the presence experience.
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Novikov, Vasily N. "VR cinema. Virtual spectacle as a dream." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 43–52. http://dx.doi.org/10.17816/vgik11243-52.
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The essay analyzes the meaning of the term immersion in relation to its application in modern cinema, explores the significance of physiological sensations in the perception of artistic and entertaining VR content, and discusses the main features of the aesthetics of 360 spherical video.
In a state of immersion, a person ceases to psychologically perceive the screen as a repeater of an artificially created world, actually merging with the surrounding space. This technology, embodied in VR films, poses many still unresolved issues: the management of the subjects attention, the role of editing, the quality of sound, the use of music, film narration, the participation of the viewer in a film's events, work with light and color.
The VR video format with a 360 overview is used in many areas: music videos, virtual tours, documentary travels, independent dives into art works, digital painting, and installations. In all these cases, the viewer feels like an observer, finding himself in the very center of an infinite, all-encompassing virtuality.
In contrast to the traditional film that appeals to the mass consciousness of the audience, the viewing of VR content is aimed at the personal self-awareness of the individual. Images perceived in this format have a potentially higher impact on the human psyche and the human unconscious because they are remembered more vividly as a result of the complex involvement in the personalized experience here and now. The ability of the author-artist to create for the viewer an emotionally saturated dream with the psychological fusion of the subject and the space takes place is a qualitatively new quality of VR dives, a feature uncharacteristic of traditional visual arts.
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Шишлянникова, Нина Петровна. "ANALYSES AND VALUE-MEANING INTERPRETATION OF A MUSICAL WORK AS PEDAGOGICAL PROBLEM." Pedagogical Review, no. 6(40) (December 8, 2021): 38–44. http://dx.doi.org/10.23951/2307-6127-2021-6-38-44.
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Рассмотрена проблема анализа и интерпретации музыкального произведения с точки зрения теоретиков музыки и педагогов-музыкантов. Обоснована вариативность подходов к анализу, обусловленная категорией слушателей музыки, жанром произведения, неповторимостью, уровнем сложности и продолжительностью звучания, уникальностью мировоззрения композитора. Охарактеризованы отдельные виды анализа в зависимости от целевой направленности, указаны трудности и пути их преодоления. Анализ инструментальных произведений с позиций интонационной теории (интонационно-образный анализ) – своего рода социальное, историческое, художественное исследование, при котором необходима организация общения детей с автором и исполнителями сочинения в форме живого диалога, направленного на погружение в художественно-образный мир произведения, выявление смысла и эмоционально-ценностных отношений, воплощенных в образах-интонациях, формирование к нему собственного отношения (В. В. Медушевский). Представленные виды музыковедческого анализа применяются в практике музыкального образования школьников в зависимости от особенностей произведения и предпочтений педагога. Показан пример музыкально-педагогического анализа инструментальной пьесы студентами как один из возможных вариантов для использования в педагогической практике с учащимися общеобразовательной школы. The article observes the problem of analyses and interpretation of a piece of music from the point of view of music theorists and music teachers. The variability of approaches to the analysis is substantiated due to the category of the listeners, the genre of a piece of music, the uniqueness, the level of complexity and duration of the sound, the uniqueness of the composer’s worldview. Certain types of analysis, depending on the target orientation, are characterized, difficulties and ways of overcoming them are indicated. Analysis of an instrumental works from the point of view of intonation theory (intonation-figurative analysis) is a kind of social, historical, artistic research, in which it is necessary to organize communication between children and the author and performers of the composition in the form of a live dialogue aimed at immersion in the artistic-figurative world of the work, identifying meaning and emotional-value relations, embodied in images-intonations, the formation of one’s own attitude towards him (V. V. Medushevsky). The presented types of music studying analyses are used in the practice of music education of schoolchildren, depending on the characteristics of the work and the preferences of the teacher. An example of musical and pedagogical analysis of an instrumental piece by students is shown as one of the possible options for using in pedagogical practice with secondary school students.
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Haag, Moritz P., and Markus Reiher. "Studying chemical reactivity in a virtual environment." Faraday Discuss. 169 (2014): 89–118. http://dx.doi.org/10.1039/c4fd00021h.
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Chemical reactivity of a set of reactants is determined by its potential (electronic) energy (hyper)surface. The high dimensionality of this surface renders it difficult to efficiently explore reactivity in a large reactive system. Exhaustive sampling techniques and search algorithms are not straightforward to employ as it is not clear which explored path will eventually produce the minimum energy path of a reaction passing through a transition structure. Here, the chemist's intuition would be of invaluable help, but it cannot be easily exploited because (1) no intuitive and direct tool for the scientist to manipulate molecular structures is currently available and because (2) quantum chemical calculations are inherently expensive in terms of computational effort. In this work, we elaborate on how the chemist can be reintroduced into the exploratory process within a virtual environment that provides immediate feedback and intuitive tools to manipulate a reactive system. We work out in detail how this immersion should take place. We provide an analysis of modern semi-empirical methods which already today are candidates for the interactive study of chemical reactivity. Implications of manual structure manipulations for their physical meaning and chemical relevance are carefully analysed in order to provide sound theoretical foundations for the interpretation of the interactive reactivity exploration.
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Hughes, Janette, and Amy John. "From Page to Digital Stage: Creating Digital Performances of Poetry." Voices from the Middle 16, no. 3 (March 1, 2009): 15–22. http://dx.doi.org/10.58680/vm20097001.
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The authors share the story of a performance-based poetry project undertaken by a class of grade 6 and 7 students. The use of new digital media for reading, writing, and representing poetry encouraged an exploration of the relationship between text and image and how images and sound might be used to mediate meaning making. New media have an immersive and performative potential that encouraged students to get inside a poem and play with it. This project tapped into students’ interests in new media and allowed them to experience poetry in new ways through a multimodal learning environment.
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Corbo, Stefano. "Air design, meteorological architecture, and atmospheric preservation: towards a theory of feeling." Architectural Research Quarterly 22, no. 3 (September 2018): 188–93. http://dx.doi.org/10.1017/s1359135518000490.
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In 1960, Belgian artist Rene Magritte painted La Corde Sensible. In the background is a natural landscape, characterised by mountains and by a river. At the front is a champagne glass topped by a cloud. It prompts questions: does the cloud have its own weight? Is the glass mediating between the liquid state of the river and the gaseous state of the cloud? A few years later in 1972, the Viennese group Haus-Rucker-Co depicted a similar provocative scenario in ‘Big Piano’. In place of a champagne glass, a ladder with many steps – each with a different sound – reaches towards a cloud, which is a site of immersion and the loss of orientation.These two examples, along with other artistic manifestations from the same period, reveal the rise of an aesthetic sensibility, which for the first time, questioned traditional physical and perceptual boundaries seemingly fixed by tradition, pursuing a sort of material evanescence. They illustrate a process of formal and conceptual dematerialisation. Generally, one may say that, from the second half of the twentieth century, the discipline of aesthetics experienced a radical change: shifting away from semantic or hermeneutic interpretations back to its original meaning: aesthetics as aisthesis, the ancient Greek word for perception. This implied a rediscovery of the body, the rehabilitation of the senses, and a renewed interest in phenomenology.
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Dinis, Frederico. "Performativity of the Memory of Religious Places through Sound and Image." Religions 14, no. 9 (September 5, 2023): 1137. http://dx.doi.org/10.3390/rel14091137.
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In this essay, we explore and deepen the confluence between sound and image, linking and relating concepts, purposes and coherence of artistic practices mediating and reconfiguring the memory of religious places. We observed that the performativity of memory, as an autobiographical concept, can be enhanced through live audiovisual performances in religious places. We have established that the performativity of memory in religious places can promote a spatial ‘self’, creating dynamic, immersive and physical experiences in the religious places. And we argue that the construction of this spatial ‘self’ involves processes of social and artistic reconfiguration that contribute to transforming not only the social dynamics within the community but also the artistic representations of memory. These main findings were reached following a process of research through artistic practice, thus a systematization of the processes involved in approaching three religious places. It also assumes the (de)construction of the sense of place throughout a personal reading on the mediation through nonverbal means. In this research, we also observed that the aesthetic and performative configurations can have an impact on the most individual manifestations of religion, religiosity and religious belief, influencing the interpretation and creation of meaning, evoking emotional and spiritual responses.
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Smith-Harvey, James, and Claudio Aguayo. "Modes of Meaning." Pacific Journal of Technology Enhanced Learning 6, no. 1 (April 15, 2024): 10–11. http://dx.doi.org/10.24135/pjtel.v6i1.181.
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This presentation proposes an approach to designing technology-enhanced learning (TEL) through the strategic integration of diverse multimodal media forms within a framework informed by the 4E+ view of cognition. The 4E+ cognition framework emphasises the embodied, embedded, enactive, and extended nature of cognition, suggesting that cognition is not solely confined to the brain but extends into the environment while involving the body's interactions with that environment (Carney, 2020; Jianhui , 2019; Menary, 2010; Newen, et al., 2018).
In this theoretical context, our study explores how the combination of various modes of media, such as immersive technologies, digital interactive elements, real-world analogue creations, audio, sound, images, videos, animations, text, and the surrounding environment can be orchestrated to create sensorially rich, and more meaningful learning experiences (Gilakjani, et al., 2011; Philippe, et al., 2020; Sankey, et al., 2010). For example, mixed reality (XR) learning design combines immersive media forms to support multi-sensory and expanded cognitive learning (Philippe et al., 2020; Rakkolainen et al., 2021; Villalobos & Videla, 2023). Other relevant approaches include gamification and transmedia storytelling methods (Doumanis et al., 2019; Perry, 2020). By leveraging different modalities, educators can design learning materials that engage learners with different sensory activations and presentation methods (Bouchey et al., 2021). This approach can cater to the 4E+ view of cognition, and subsequently enhancing knowledge acquisition and retention.
Examples from our own practice and research (such as the Explora: Chile es Mar, Pipi’s World and O-Tū-Kapua XR learning experiences), as well as current educational examples (Bouchey et al., 2021; Philippe, et al., 2020), demonstrate how multimodal media integration facilitates deeper engagement, critical thinking, and a more holistic understanding of complex concepts. Furthermore, we discuss practical strategies for educators to implement these principles in their TEL design, highlighting the potential of aligning multimodal design choices with the 4E+ cognitive framework.
Ultimately, we advocate for a shift towards a more inclusive and effective approach to technology-enhanced learning - one that embraces the diversity of human cognitive processes and leverages multimodal media to communicate meaningful knowledge in ways that resonate with learners' cognitive structures and experiences. Multimodal methods, when aligned with the distributed 4E+ view of cognition, can make TEL appeal and resonate on deeper levels to engage across various sensory, environmental and communication modes. This type of approach acknowledges the diversity of ways that humans process and understand phenomena, and how more effective learning can occur when multiple ways of knowing are engaged and communicated to. Furthermore, through this method, inclusivity can be heightened for students with diverse cultural, neurological or other backgrounds (Anis & Khan, 2023; Boivin & CohenMiller, 2022).
Emerging research shows the potential of the 4E+ approach to meet the needs of learning in 21st century technological environments (Videla & Veloz, 2023; Villalobos & Videla, 2023). This presentation contributes to the literature by examining TEL design through a multimodal media lens. It highlights how the holistic 4E+ framework can more effectively and meaningfully engage students than computational, monomodal and bimodal uses of technology in educational settings.
References
Anis, M., & Khan, R. (2023). Integrating Multimodal Approaches in English Language Teaching for Inclusive Education: A Pedagogical Exploration.
Boivin, A. C. N., & CohenMiller, A. (2022). INCLUSION AND EQUITY WITH MULTIMODALITY DURING COVID-19. Keep Calm, Teach On: Education Responding to a Pandemic, 87.
Bouchey, B., Castek, J., & Thygeson, J. (2021). Multimodal learning. Innovative Learning Environments in STEM Higher Education: Opportunities, Challenges, and Looking Forward, 35-54.
Carney, J. (2020). Thinking avant la lettre: A Review of 4E Cognition. Evolutionary studies in imaginative culture, 4(1), 77-90.
Doumanis, I., Economou, D., Sim, G. R., & Porter, S. (2019). The impact of multimodal collaborative virtual environments on learning: A gamified online debate. Computers & Education, 130, 121-138.
Gilakjani, A. P., Ismail, H. N., & Ahmadi, S. M. (2011). The effect of multimodal learning models on language teaching and learning. Theory & Practice in Language Studies, 1(10).
Jianhui, L. (2019). Transcranial Theory of Mind: A New Revolution of Cognitive Science. International Journal of Philosophy, 7(2), 66-71.
Menary, R. (2010). Introduction to the special issue on 4E cognition. Phenomenology and the Cognitive Sciences, 9, 459-463.
Newen, A., De Bruin, L., & Gallagher, S. (Eds.). (2018). The Oxford handbook of 4E cognition. Oxford University Press.
Perry, M. S. (2020). Multimodal Engagement through a Transmedia Storytelling Project for Undergraduate Students. Gema Online Journal of Language Studies, 20(3).
Philippe, S., Souchet, A. D., Lameras, P., Petridis, P., Caporal, J., Coldeboeuf, G., & Duzan, H. (2020). Multimodal teaching, learning and training in virtual reality: a review and case study. Virtual Reality & Intelligent Hardware, 2(5), 421-442.
Rakkolainen, I., Farooq, A., Kangas, J., Hakulinen, J., Rantala, J., Turunen, M., & Raisamo, R. (2021). Technologies for multimodal interaction in extended reality—a scoping review. Multimodal Technologies and Interaction, 5(12), 81.
Sankey, M., Birch, D., & Gardiner, M. W. (2010). Engaging students through multimodal learning environments: The journey continues. Proceedings of the 27th Australasian Society for Computers in Learning in Tertiary Education, 852-863.
Videla, R., & Veloz, T. (2023). The 4E approach applied to education in the 21st century. Constructivist Foundations, 18(2), 153-157.
Villalobos, M., & Videla, R. (2023). The roots and blossoms of 4E cognition in Chile: Introduction to the Special Issue on 4E cognition in Chile. Adaptive Behavior, 31(5), 397-404.
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ABUBE, LARRY N. "A Contrastive Analysis of Cameroonian Pidgin English and Standard British English." AIDE Interdisciplinary Research Journal 3 (April 24, 2023): 20–26. http://dx.doi.org/10.56648/aide-irj.v3i1.50.
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The marriage between Cameroonian Pidgin English and Standard British English is bound by History. This corpus study applies the Sequential Explanatory Design to explore Cameroonian Pidgin English and Standard British English, with the quantitative data and results providing a general picture of the research problem while the qualitative data refines and elaborates on the general picture. The analysis is based on lexical, morphological, syntactic, declarative, imperative, and interrogative features of Cameroonian Pidgin English (CPE), with reference to Standard British English (SBE). The lexicon of CPE is a criteria-free open register of words with local, native, and foreign affinities. The morphology is characterized by Possessive adjectives usually placed in front of the noun they qualify; possessive nouns take yi, ma, ya, we, dia, and wuna, with dem as the main indicator of plurality, while pronunciation is mostly a representation of the sound closest to the speaker’s first or native language. The arrangement of words to show connections of meaning within the sentence is similar for CPE and SBE, except that CPE is wordier. The origin of CPE is linked to the history of the nation and cultural spillovers. Born of an illiterate culture, and purposefully for communication; prone to rapid growth, very easy to learn because it is acquired through immersion. Its lexicon, morphology, and syntax borrow a lot from the ‘rule book’ of SBE. Linguistic structures should be created for the development and standardization of CPE, and they should be among the main languages on all radio and television media in Cameroon. Meanwhile, Pedagogues, Educators, and policymakers should facilitate introducing CPE into the curriculum.
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Wong, Adrienne. "Sound Immersion." Canadian Theatre Review 173 (January 2018): 48–52. http://dx.doi.org/10.3138/ctr.173.008.
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Dematera, Anacito. "Ligao City’s Folklore: A Repertoire of Culture and Tradition, An Anthology of Indigenous Healing." Journal of Education, Management and Development Studies 2, no. 1 (March 29, 2022): 86–90. http://dx.doi.org/10.52631/jemds.v2i1.70.
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The study is centered on the narratives on indigenous healing practices of Ligao City, Albay province, Philippines. It gathered genres, documented repertoire, validated text authenticity, translated texts into vernacular, and classified the typology of indigenous healing practices in the area. The research is descriptive ethno-literary in nature, employing ethnographic methods such as community immersion, participant observation, unstructured interviews, and digital documentation. The collected texts were transcribed from the dialect/vernacular and translated into the English language; they were then anthologized and classified according to their respective genres; and the research process and data were captured through a coffee table book and ethnovideography. The study found eighty-one (81) narratives on indigenous healing practices. Ligao’s indigenous healing practices are more difficult to translate into other Bicol dialects and into the English language due to its unique syllabication, sound, and spelling. Plenty of words spoken and written in the dialect do not have an exact translation or counterpart in the English language; they need lengthy elaboration to contextualize their meanings. Narratives on Indigenous Healing Practices in Ligao City are present in the culture and tradition of an older generation that in their dawn realized this repertoire of various lore showcasing valuable historical and cultural information could be eventually lost. As the different practices of indigenous healing continue to decrease in number significantly every year, abandoned by the generations who used to embrace them, preservation of the lore for posterity must be a priority.
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Makiіenko, Stepan. "The stylistic originality of Yurii Shevchenko’s instrumental works on the example of “ThreeUkrainian Songs” for string orchestra." Aspects of Historical Musicology 33, no. 33 (December 28, 2023): 156–72. http://dx.doi.org/10.34064/khnum2-33.09.
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Statement of the problem. The musical language of Ukrainian composers of the XX–XXI centuries is a complex and rather poorly studied field in modern musicology. This phenomenon raises many questions due to the diversity of styles, forms, and individual expressive systems of composers. Music for chamber ensemble vividly reflects the significant transformations in the artistic perception owned to our era. This musical context includes the work of the Ukrainian composer Yuriі Valentynovych Shevchenko (1953–2022), an outstanding figure in the national musical culture. The composer’s work is considered mainly in the journalistic discourse (Sushchenko, 2006; Cherdintseva, 2003, etc.). In recent scientific publications devoted to Shevchenko’s work, the authors (Aksiutina, 2022; Sadovenko, 2023; Tarasenko, 2008) focus on the analysis of the composer’s ballet music. The study by V. Stepurko (2023) helps to come closer to understanding the composer’s creative narratives: “... the author in his work aims to find the hidden philosophical depths of fairy-tale “worlds” as a sign and sound space. His works use various musical means of expression, but structured according to classical models, they are strikingly full of modern philosophical ideas, the search for humanistic postulates to solve the problems of humanity” (Stepurko, 2023: 132). However, a comprehensive musicological consideration of chamber and instrumental works remains outside the attention of researchers that determines the relevance of this publication. Objectives, methods, and novelty of the research. The purpose of this article is to reveal expressive means and stylistic features of Yu. Shevchenko’s chamber and instrumental music using the example of “Three Ukrainian Songs” for string orchestra. The named works have not yet been the subject of a special musicological analysis. The following methods were used in the study: historical, system-analytical, comparative, and hermeneutic, as well as a complex of specific musicological methods: structural-functional, semantic, musical-dramaturgical, timbre and textural analysis (for considering the musical form in its dynamics, the artistic expressiveness of harmonic, polyphonic, melodic and rhythmic means; when studying the orchestral score for revealing the specifics of the use of timbre colours of instruments). Research results and conclusion. In the process of implementing the symbolic program of the “Three Ukrainian Songs” for string orchestra, the principle of sound painting and the thematic meaning of rhythm get an important role. Audio-visual effects are achieved through the combination of timbres of various instruments and the use of special ways. The creation of sound perspective and the effect of spatiality are facilitated by polyphonic techniques of development and the combination of distant registers (also, in the first song, the temple bell effect arises due to synchronization of the propagation of sound vibrations). The game component, which is present in the third song, is realized through the “terrace” dynamics (f–p) and the “instant” register juxtaposition in parts of the I–II violins. To reproduce folklore intonations, to imitate the sound of folk instruments, the composer uses a variety of timbres of a string orchestra, in particular, orchestral pedals; characteristic rhythmic and melodic turns, sudden tonal shifts, original tonal plans, as well as various polyphonic techniques and the polyphonic-variation method of development. Using folklore material, Yu. Shevchenko complements each of the selected melodies with a harmonic texture, masterfully works with the vertical, and writes out each voice in a jewelled manner. In his interpretation of folk songs, genre features are emphasized: “Many Years” is a glorifying chant, “The Boat is Sailing” is a barcarolle, “Jenchichok-brenchichok”(“Reaper-Chirper”) is a scherzo. Meter and rhythm, register, and timbre solutions contribute to the highlighting of the characteristic genre features. The architectonics of the cycle carries a semantic load and contributes to the demonstration of the idea of the fluidity of life time: “Blessings of Life” (the idea of Part I) – “Immersion in the Process of Life” (Part II) – “Joy of Life” (Part III). So, the interpretive component of the cycle has a positive vector aimed at raising the emotional state of performers and listeners, as evidenced by the bright, “fiery” character of the treatment of the humorous folk song in the third, final, part of the cycle. The trends of form-making, the techniques of using harmony and polyphony laid down by the composer , as well as the conceptual solution of the cycle open wide prospects for the further development of Ukrainian chamber-instrumental music.
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Kyriakides, Yannis. "Hearing Words Written." Organised Sound 21, no. 3 (November 11, 2016): 233–41. http://dx.doi.org/10.1017/s1355771816000200.
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Over the past few years, I have developed a form of composition – which I callmusic–text–film –in which I explore the dynamics between sound, words and visuals. In this article I will attempt to explain how meaning is constructed in the interplay between these layers of media. Taking as an example three of my works,Subliminal: The Lucretian Picnic,Dreams of the BlindandThe Arrest, I analyse and discuss aspects of narrative, point of view, metaphor and cross-modal perception, as a way of understanding how multimedia art, specifically in the audiovisual domain, is experienced. One of the issues that arose out of these pieces was the question of location of the ‘voice’. It is as if a state of limbo is created between the narrative voice of the text and the implied voice of the music, due to the absence of a conventional focal point to pin it on – an actor or a singer. I would like to suggest that because of this vacancy and the way the projected word takes the place of the sung or spoken voice, the inner voice of the audience becomes activated. This then becomes a vital immersive dimension in the performance, as the inner voice of the audience finds its place within the space of the composition.
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Jestrovic, Siljiva. "Reading into Soundscapes: Between Ma and Concretization." Recherches sémiotiques 36, no. 1-2 (September 7, 2018): 347–62. http://dx.doi.org/10.7202/1051192ar.
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This essay explores the role of the listener/participant in the process of shaping sound works. I consider factors both internal to the works’ structures and inner dynamics, as well as external to them, and how they are determined by ever shifting parameters of context within which they are received. The analysis revolves around two very different artistic works : Takeshi Kosugi’s audio-visual installation Mano Dharma, electronic (1967), exhibited at the IKON Gallery in Birmingham in September 2015, and Between, an immersive performance piece that uses the audio-walk as its main strategy, created by Theatre Studies students at the University of Warwick in June 2015. My approach to these works relies on the assumption of a semiotic impulse which imposes itself as the urge to engage the process of meaning making, followed by the strategy I propose as ideally suited to the interpretation of these works, a process I call reading-into . Reading-into is proposed variably as both a deliberate phenomenological strategy and a form of involuntary imposition of the semiotic impulse to ask the following questions : What are the possibilities and limits of the listener/participant’s reading-into ? How does reading-into relate to existing theoretical frameworks concerning aesthetic reception? What are the elements within and without the work itself that shape the process of reading-into ? How do unreadable elements of the work which resist semiotization shape our modes of engagement?
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BRESLER, ZACK, and STAN HAWKINS. "‘A Swarm of Sound’." Music, Sound, and the Moving Image 16, no. 1 (July 1, 2022): 29–52. http://dx.doi.org/10.3828/msmi.2022.2.
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This article explores the idea of audiovisual immersion through the portal of the virtual reality music video. Our focus falls on a close reading of Björk’s video, ‘Family’, which addresses questions of immersion in relation to user-experience, staging, and technological innovation. This article draws on the authors’ responses to the video by considering the implications of VR immersion in a new generation of music video productions. As part of the methodology on offer, a model for music analysis is devised for conceptualising virtual audiovisual space (VAVS) and the inextricable relationships between production and compositional design.
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Kiyan, Roman, Jakob Bergner, Stephan Preihs, Yves Wycisk, Daphne Schössow, Kilian Sander, Jürgen Peissig, and Reinhard Kopiez. "Towards predicting immersion in surround sound music reproduction from sound field features." Acta Acustica 7 (2023): 45. http://dx.doi.org/10.1051/aacus/2023040.
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When evaluating surround sound loudspeaker reproduction, perceptual effects are commonly analyzed in relationship to different loudspeaker configurations. The presented work contributes to this by modeling perceptual effects based on acoustic properties of various reproduction formats. A model of immersion in music listening is derived from the results of an experimental study analyzing the psychological construct of immersive music experience. The proposed approach is evaluated with respect to the relationship between immersion ratings and sound field features obtained from re-recordings of the stimuli using a spherical microphone array at the listening position. Spatial sound field parameters such as inter-aural cross-correlation (IACC), diffuseness and directivity are found to be of particular relevance. Further, immersion is observed to reach a point of saturation with greater numbers of loudspeakers, which is confirmed to be predictable from the physical properties of the sound field. Although effects related to participants and musical pieces outweigh the impact of sound field features, the proposed approach is found to be suitable for predicting population-average ratings, i.e. immersion experienced by an average listener for unknown content. The proposed method could complement existing research on multichannel loudspeaker reproduction by establishing a more generalizable framework independent of particular speaker setups.
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Deutsch, Stephen. "Engagement versus Immersion." New Soundtrack 8, no. 1 (March 2018): 73–77. http://dx.doi.org/10.3366/sound.2018.0118.
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Kock, Maximilian, and Christoph Louven. "The Power of Sound Design in a Moving Picture: an Empirical Study with emoTouch for iPad." Empirical Musicology Review 13, no. 3-4 (April 18, 2019): 132. http://dx.doi.org/10.18061/emr.v13i3-4.6572.
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The art of sound design for a moving picture rests basically on the work experience of pragmatists. This study tries to establish some guidelines on sound design: In an experiment 240 participants gave feedback about their emotions while watching two videos, each combined with four different audio tracks – music, sound effects, full sound design (music and sound effects) and no audio (as the comparative "null" version). Each participant viewed an audiovisual combination once to prevent habituation. The lead author employed a tablet-computer with the emoTouch-application serving as a mapping tool to provide information about the emotional responses. The participants moved a marker on the tablet's touch screen in a two-dimensional rating scale describing their felt immersion and suspense. A 3-factor-ANOVA showed significant increases of the median (and maximum) values of immersion and suspense when the participants listened to music and/ or sound effects. These values were always compared to the induced emotions of the participants who watched the videos with no audio at all. The video with full sound design audio tracks increased the median immersion values up to four times and the median suspense values up to 1.4 times. The median suspense values of the video with either music or sound effects dropped by 40 percent compared to the median suspense values of the null version. In contrast, the median immersion values were increased up to 3.6 times. The findings point to the importance of sound effects in an appropriate mix with music to enhance the viewers induced immersion and suspense.
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España Keller, Juliana. "The Sonic Intra-Face of a Noisy Feminist Social Kitchen." Social Sciences 8, no. 9 (August 23, 2019): 245. http://dx.doi.org/10.3390/socsci8090245.
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This paper asks what is the value of transforming the kitchen into a sonic performative work and public site for art and social practice. A Public Kitchen is formed by recreating the private and domestic space of a kitchen into a public space through a sonic performance artwork. The kitchen table is a platform for exploring, repositioning and amplifying kitchen tools as material phenomena through electronic and manual manipulation into an immersive sonic performance installation. This platform becomes a collaborative social space, where somatic movement and sensory, sonic power of the repositioned kitchen tools are built on a relational architecture of iterative sound performances that position the art historical and the sociopolitical, transforming disciplinary interpretations of the body and technology as something that is not specifically exclusively human but post-human. A Public Kitchen represents a pedagogical strategy for organizing and responding collectively to the local, operating as an independent nomadic event that speaks through a creative practice that is an unfolding process. (Re)imagining the social in a Public Kitchen produces noisy affects in a sonic intra-face that can contribute to transforming our social imaginations, forming daring dissonant narratives that feed post-human ethical practices and feminist genealogies. This paper reveals what matters—a feminist struggle invaluable in channeling the intra-personal; through the entanglement of the self, where language, meaning and subjectivity are relational to human difference and to what is felt from the social, what informs from a multi-cultural nomadic existence and diffractive perspective. The labored body is entangled with post-human contingencies of food preparation, family and social history, ritual, tradition, social geography, local politics, and women’s oppression; and is resonant and communicates as a site where new sonic techniques of existence are created and experiences shared.
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CARREIRO, RODRIGO, DÉBORA OPOLSKI, and RODRIGO MEIRELLES. "Sound of Metal." Music, Sound, and the Moving Image 17, no. 2 (December 27, 2023): 111–35. http://dx.doi.org/10.3828/msmi.2023.9.
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The main goal of this article is to carry out an analysis of the dramaturgical and narrative use of the soundtrack for the film Sound of Metal (2019), anchoring it in the concepts of immersion and subjective hearing. The essay includes a brief history of how these concepts are applied to cinema; a discussion of the way D/ deaf culture is represented, narratively and sonically; an analysis of important scenes using spectrograms that show the narrative development of the use of different sound approaches to represent three different listening modes experienced by the protagonist; a discussion of some techniques that allow sound design to build a realistic sound diegesis; and a description of the narrative progression of sound design, over the three acts of the plot, to demonstrate how the idea of a subjective audition point linked to the main character helps to build the viewer’s sensory immersion in the plot, in addition to driving the entire film’s dramaturgy.
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Myers, Emily B. "From sound to meaning." Physics Today 70, no. 4 (April 2017): 34–39. http://dx.doi.org/10.1063/pt.3.3523.
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Kavdanska, Mihaela. "4TH SKIN THE PERFORMING BODY AS INTERFACE FOR INTERMEDIA ONENESS IN STAGE-BASED INTERACTION." Knowledge International Journal 28, no. 7 (December 10, 2018): 2399–404. http://dx.doi.org/10.35120/kij28072399m.
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'4th Skin' is a term I coined in 2013, describing metaphorically the visual representation of a layer of multimedia skin covering a dancer’s moving body, changing its appearance in real-time, on stage. It is also the title of one of my Interactive Art projects and the name of a technological platform for video mapping on moving bodies, produced for the technical implementation of the project.The first skin is generally accepted to be our body's skin. Our clothing is very often defined, in direct and transportable meaning, as our second skin. The third skin is the ‘architecture, technology and environment’ that surround us, as Scott Drake defines in his book from 2007 [1]. What I call 4th skin in the context of Media Art, is a digital, real-time video skin, showing different actions, relations and experiences, captured with a wireless web camera attached to the performers body, transforming and placing the character in different dramaturgical contexts.While creating and implementing the multiple formats of this project, my main artistic goal was to achieve what I call 'Intermedia Oneness' between different media and performers on stage. Intermedia Oneness could be defined as a state of immersive artistic experience, governed by a horizontal structure of relations, where no media, nor human or digital performer takes the lead. They are all connected in real-time with the help of technological platforms (hardware and software). The performing body becomes an interface, which I call the 'Intermedia Body', generating or manipulating audio-visual content through its actions or presence in certain areas on stage. I initiated, co-created and co-produced the multidisciplinary artistic project 4th skin in the context of Media Arts and Interactive Dance, at the Interface Cultures Department (University of Art and Design, Linz). A group of creatives from the fields of Contemporary Dance, Sound Art and Interaction Design were involved.The different formats of this project were presented in diverse artistic and educational contexts in Europe (Austria, Romania, Spain, England, Germany, Portugal) and USA (Cleveland, Ohio), between 2013 and 2015.We created two interactive dance performances. A performative installation with public participation was implemented in a gallery. Numerous interactive improvisation sessions and workshops with dancers and media artists took place.Conceptually and artistically, the project was developed together with Dolma Jover - a Spanish choreographer, dancer and dance instructor. I invited Cristian Iordache, a Romanian interaction designer, long term collaborator of KOTKI visuals Studio in Bucharest, to realise the interactive platform for video mapping on moving bodies following my interaction concept. KOTKI visuals was the main project funder and supporter. The creative and performative contribution of Sorin Paun aka Randomform, a Romanian sound artist, Viltė Švarplytė (Estonia), Juan Camilo Herrera (Columbia), dance performers and Henning Schulze, a German interaction designer, were crucial for the realisation of the different project versions.
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Kavdanska, Mihaela. "4TH SKIN THE PERFORMING BODY AS INTERFACE FOR INTERMEDIA ONENESS IN STAGE-BASED INTERACTION." Knowledge International Journal 28, no. 7 (December 10, 2018): 2399–404. http://dx.doi.org/10.35120/kij29082399m.
Full textAbstract:
'4th Skin' is a term I coined in 2013, describing metaphorically the visual representation of a layer of multimedia skin covering a dancer’s moving body, changing its appearance in real-time, on stage. It is also the title of one of my Interactive Art projects and the name of a technological platform for video mapping on moving bodies, produced for the technical implementation of the project.The first skin is generally accepted to be our body's skin. Our clothing is very often defined, in direct and transportable meaning, as our second skin. The third skin is the ‘architecture, technology and environment’ that surround us, as Scott Drake defines in his book from 2007 [1]. What I call 4th skin in the context of Media Art, is a digital, real-time video skin, showing different actions, relations and experiences, captured with a wireless web camera attached to the performers body, transforming and placing the character in different dramaturgical contexts.While creating and implementing the multiple formats of this project, my main artistic goal was to achieve what I call 'Intermedia Oneness' between different media and performers on stage. Intermedia Oneness could be defined as a state of immersive artistic experience, governed by a horizontal structure of relations, where no media, nor human or digital performer takes the lead. They are all connected in real-time with the help of technological platforms (hardware and software). The performing body becomes an interface, which I call the 'Intermedia Body', generating or manipulating audio-visual content through its actions or presence in certain areas on stage. I initiated, co-created and co-produced the multidisciplinary artistic project 4th skin in the context of Media Arts and Interactive Dance, at the Interface Cultures Department (University of Art and Design, Linz). A group of creatives from the fields of Contemporary Dance, Sound Art and Interaction Design were involved.The different formats of this project were presented in diverse artistic and educational contexts in Europe (Austria, Romania, Spain, England, Germany, Portugal) and USA (Cleveland, Ohio), between 2013 and 2015.We created two interactive dance performances. A performative installation with public participation was implemented in a gallery. Numerous interactive improvisation sessions and workshops with dancers and media artists took place.Conceptually and artistically, the project was developed together with Dolma Jover - a Spanish choreographer, dancer and dance instructor. I invited Cristian Iordache, a Romanian interaction designer, long term collaborator of KOTKI visuals Studio in Bucharest, to realise the interactive platform for video mapping on moving bodies following my interaction concept. KOTKI visuals was the main project funder and supporter. The creative and performative contribution of Sorin Paun aka Randomform, a Romanian sound artist, Viltė Švarplytė (Estonia), Juan Camilo Herrera (Columbia), dance performers and Henning Schulze, a German interaction designer, were crucial for the realisation of the different project versions.
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Blake, Joanna, and Robert Fink. "Sound-meaning correspondences in babbling." Journal of Child Language 14, no. 2 (June 1987): 229–53. http://dx.doi.org/10.1017/s0305000900012903.
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ABSTRACTThe hypothesis that prelinguistic vocalizations contain extensive and systematic sound-meaning correspondences was examined through an exhaustive analysis of the babbling of five infants in their second year. These infants were videotaped over a period of three to six months at home and at a day-care centre. Their babbled utterances were transcribed phonetically and categorized according to consonant-type and vowel-type. Contexts for each utterance were also categorized, primarily according to the infant's simultaneous action. A quantitative analysis of co-occurrences between phonetic and contextual categories determined that across infants between 14 and 40% of utterances recurred in particular contexts with a greater than expected frequency. These findings support Halliday's (1975a) notion that babbling is not entirely random but contains consistent sound-meaning relations that are not adult-modelled. They also extend the notions of continuity between prelinguistic and linguistic stages of development to the semantic domain.
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Svantesson, Jan-Olof. "Sound symbolism: the role of word sound in meaning." Wiley Interdisciplinary Reviews: Cognitive Science 8, no. 5 (March 22, 2017): e1441. http://dx.doi.org/10.1002/wcs.1441.
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Vallery, Robin, and Maarten Lemmens. "The sound of taboo." Sex, Death & Politics 28, no. 1 (December 31, 2021): 87–137. http://dx.doi.org/10.1075/pc.20021.val.
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Abstract Swear words of English and French, both real and fictional ones, significantly tend to contain the least sonorous consonants, compared to the rest of the lexicon. What can explain the overrepresentation of such sounds among swear words? This might be a case of sound symbolism, when sounds are unconsciously associated with a meaning. We examine the pragmatic vs. semantic nature of the meaning involved, as well as two explanations in terms of iconicity (plosives may be associated with “violation of hearer’s space”, or unsonorous consonants may be associated with “aggression”). This unusual sound-meaning pairing would involve an emotional-contextual, non-truth-conditional meaning, and be powerful enough that it influences a strong sociolinguistic convention – which words are swear words and which ones are not – suggesting that sounds convey meaning in yet unsuspected ways.
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Levesque, Lauren Michelle. "Small Sounds in Familiar Places." Art/Research International: A Transdisciplinary Journal 7, no. 2 (December 4, 2022): 327–50. http://dx.doi.org/10.18432/ari29670.
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In this article, the movement between the gravity and synchrony of love in pandemic times as revealed through the creative practices of poetry and cellphone photography is addressed. Informed by literature on slow scholarship published prior to and during the COVID-19 pandemic, the author explores the ways in which listening to and caring for the small sounds of a familiar place–here a rural backyard–can act as a generative theoretical space to reconsider the meaning of love and its implications for academic work. The principal questions include: how can the practice of writing poems and taking photographs foster the intentionality of slow time? How can immersing oneself in this time provide insight into perhaps worn-out conceptualizations of what is considered precious? What implications, if any, can these insights have for understandings of love and the need for slow scholarship post-pandemic?
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Khaydarov, Anvar Askarovich. "EXPRESSION OF CONNO EXPRESSION OF CONNOTATIVE MEANING IN ONOM TIVE MEANING IN ONOMATOPOEIA." Scientific Reports of Bukhara State University 4, no. 5 (October 27, 2020): 76–80. http://dx.doi.org/10.52297/2181-1466/2020/4/5/5.
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Introduction. There are various means of expressing emotional expressiveness in language, one of which is onomatopoeia. Onomatopoeia refers to the sound or phonetic imitation of what is being described. In onomatopoeia, words express natural sounds and have different connotative meanings. Main part. Sound production in speech acquires the character of artistic expression and performs a certain methodological function. One or another element of the sound system of the language used in prose or poetic text (vowels and consonants, stressed and unstressed syllables, pauses, different intonations, syntactic techniques, repetition of words). Results and discussion.
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Patoine, Pierre-Louis. "Representation and Immersion. The Embodied Meaning of Literature." Gestalt Theory 41, no. 2 (July 1, 2019): 201–15. http://dx.doi.org/10.2478/gth-2019-0019.
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Summary This article explores the relations among three forms of representations (artistic, mental, and neural) and immersion, considered as an altered state of consciousness, in the context of literary reading. We first define immersive reading as an intensification of our embodied experience of literary representation, in accordance to neuropsychological studies about embodied cognition. We further consider the style of interpretation demanded by such immersive reading and its ethical and ecological underpinnings.
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Jackson, Brad. "Sound Anchors." Projections 16, no. 3 (December 1, 2022): 61–82. http://dx.doi.org/10.3167/proj.2022.160303.
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When watching a film, we engage with much more than combinations of moving images. We combine what we see with what we hear, and what we hear often aids in the construction of a story. Although some researchers endorse the ways sound guides viewer expectations, there is still a need to explain the ways images, sounds, and other available cinematic modes interact to construct meaning. This article engages with research on embodiment, cognition, and multimodal artifacts to reveal how sound aids in the construction of film narratives by focusing on examples where sounds take the primary role in constructions of narrative meaning. Additionally, by discussing recent theories on cognition and multimodality, this article shows how sounds can evoke conceptual and narrative information in ways that stabilize our understanding of cinematic representations through the joint contribution of all of the available modes.
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Jee, Hana, Monica Tamariz, and Richard Shillcock. "Exploring meaning-sound systematicity in Korean." Journal of East Asian Linguistics 31, no. 1 (February 25, 2022): 45–71. http://dx.doi.org/10.1007/s10831-022-09234-6.
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Auracher, Jan. "Sound-meaning relations in Japanese Tanka." Scientific Study of Literature 11, no. 1 (December 17, 2021): 3–34. http://dx.doi.org/10.1075/ssol.21006.aur.
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Abstract This study aimed to test sound-meaning relations in Japanese poetry. To this end, participants assessed the sentiments expressed in a random selection of Tanka (a specific form of Japanese poetry) on six bipolar scales comprising Evaluation (emotional valence), Potency (dominance), and Activity (arousal). The selected Tanka differed with regard to their average formant-dispersion (i.e., the distance between the first and second formant). Corroborating results of a previous study that tested the relation between formant dispersion and emotional tone in German poetry, results suggest that poems with an extremely low average formant dispersion have a significantly higher likelihood of expressing dominance and activity than poems with an extremely high formant dispersion. No significant differences regarding the Evaluation dimension were found.
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Shapiro, Michael. "Sound and Meaning in Shakespeare's Sonnets." Language 74, no. 1 (March 1998): 81. http://dx.doi.org/10.2307/417566.
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Aryani, Arash, Erin S. Isbilen, and Morten H. Christiansen. "Affective Arousal Links Sound to Meaning." Psychological Science 31, no. 8 (July 14, 2020): 978–86. http://dx.doi.org/10.1177/0956797620927967.
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Prior investigations have demonstrated that people tend to link pseudowords such as bouba to rounded shapes and kiki to spiky shapes, but the cognitive processes underlying this matching bias have remained controversial. Here, we present three experiments underscoring the fundamental role of emotional mediation in this sound–shape mapping. Using stimuli from key previous studies, we found that kiki-like pseudowords and spiky shapes, compared with bouba-like pseudowords and rounded shapes, consistently elicit higher levels of affective arousal, which we assessed through both subjective ratings (Experiment 1, N = 52) and acoustic models implemented on the basis of pseudoword material (Experiment 2, N = 70). Crucially, the mediating effect of arousal generalizes to novel pseudowords (Experiment 3, N = 64, which was preregistered). These findings highlight the role that human emotion may play in language development and evolution by grounding associations between abstract concepts (e.g., shapes) and linguistic signs (e.g., words) in the affective system.
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Shapiro, Michael. "Sound and meaning in Shakespeare's sonnets." Language 74, no. 1 (1998): 81–103. http://dx.doi.org/10.1353/lan.1998.0025.
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Mason, Kaley. "Sound and meaning in Aboriginal tourism." Annals of Tourism Research 31, no. 4 (October 2004): 837–54. http://dx.doi.org/10.1016/j.annals.2004.03.006.
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Bracken, Cheryl Campanella, Gary Pettey, Trupti Guha, and Bridget E. Rubenking. "Sounding Out Small Screens and Telepresence." Journal of Media Psychology 22, no. 3 (January 2010): 125–37. http://dx.doi.org/10.1027/1864-1105/a000017.
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The number of small and mobile screens being used for entertainment is growing daily. This paper presents the findings of the impact of smaller video format (specifically the Apple iPod), media content, and sound delivery on audience responses. The 2 × 2 × 2 experimental design varied screen size, content, and sound delivery. Participants were exposed to one of two presentations either on an iPod or on a 32 inch (81.2 centimeters) television with sound being supplied by either speakers or a headset. Participants saw either a 10-minute fast-paced (multiple cut) action sequence or a 10-minute slow-paced (long cut) conversation sequence from a feature length motion picture. The effects of differences in immersion, spatial presence, and social realism were measured. Screen size impacted reported sensations of spatial presence with subjects who viewed larger screens reporting higher levels. Subjects with headphone delivery reported higher levels of immersion than subjects with speaker delivery. Furthermore, several interactions between screen size, content pace, and sound delivery were found.
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Tan, Siu-Lan. "Investigating Sound Design in Film: A Commentary on Kock and Louven." Empirical Musicology Review 13, no. 3-4 (April 18, 2019): 149. http://dx.doi.org/10.18061/emr.v13i3-4.6723.
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Kock and Louven (in this issue) examined the effects of music, sound effects, full sound design (music and sound effects) and no sound on self-reported measures of immersion and suspense in real time, as viewers watched very brief original films. This commentary discusses the method, analysis, and implications of their findings within the broader context of the state of the art of film music research, and future directions for investigations in this area.
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Aso, La. "THE MEANING OF THE VERB “TO SOUND” IN MUNA LANGUAGE: NATURAL SEMANTIC METALANGUAGE." RETORIKA: Jurnal Ilmu Bahasa 3, no. 2 (November 24, 2017): 265–70. http://dx.doi.org/10.22225/jr.3.2.336.265-270.
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Abstract
This paper aims at investigating the variations of lexicon having meaning of “produce of sound” in Muna language based on natural semantics metalanguage. The data collecting was done by participant speaking and scrutinize methods through interview and noting techniques. It was analyzed by using natural semantics metalanguage (NSM), an approach to investigate various lexicons with principle “one form for one meaning and one meaning for one form”. Based on the result of this study founded that meaning of “produce of sound” of Muna can be expressed by a number of lexicons and each form has distinctive meaning like in the lexicons of kobheghu, kobhondu, kotighi, kopisi, korasa, korangku, kondii, konduu, kopere, kombote, kopaka, koradha, kobuu, korapa, and kohuhu. All lexicons of Muna language has meaning ‘produce of sound’. The use of each lexicon depends on the sounded object/tool, object/tool that create the sound, and the way of creating the sound.
Keywords: produce of sound, natural semantics metalanguage, distinctive
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Yanko, Matthew. "Learners’ Identity Through Soundscape Composition: Extending the Pedagogies of Loris Malaguzzi With Music Pedagogy." LEARNing Landscapes 12, no. 1 (May 31, 2019): 271–84. http://dx.doi.org/10.36510/learnland.v12i1.994.
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It is astonishing to observe, listen, and co-learn with children as they engage with music to expand beyond the possible with their meaning-making abilities—immersing themselves in a hundred languages of music inspired by Loris Malaguzzi. In the current study, I examine how children in a split Grade 1/2 class explore and represent the sounds associated with city landmarks through soundscape composition. In particular, I focus on how students partake in the negation of identity. As a result of that, I have come to discover that by listening to children’s soundscapes we may be able to feel something new about particular landmarks, contemplate its value to citizens, and learn more about the meaning making of children.
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Haehn, Luise, Sabine J. Schlittmeier, and Christian Böffel. "Exploring the Impact of Ambient and Character Sounds on Player Experience in Video Games." Applied Sciences 14, no. 2 (January 9, 2024): 583. http://dx.doi.org/10.3390/app14020583.
Full textAbstract:
Elaborate sound design, including background music, ambient sounds (sounds describing the game world), and character sounds (sounds generated by the character’s actions), plays a pivotal role in modern video games. However, the influence of these different types of sound on the player’s experience has not been extensively researched. This study examines the influence of these sound types on immersion, avatar identification, fun, and perceived competence. In two experiments, participants played League of Legends under four different sound conditions. The first experiment (N1 = 32) revealed a non-significant trend in the effect of character sounds on avatar identification. Ambient sounds, however, were limited because the task restricted participants’ movement across the game map. Consequently, we adapted the task to allow for a wider variety of ambient sounds in the second experiment (N2 = 32). Here, a significant impact of character sounds on immersion, avatar identification, and fun was observed, as well as an interaction effect of character sounds and ambient sounds on fun. Furthermore, we observed a trend, though not statistically significant, suggesting that ambient sounds may influence the player’s sense of flow. These findings underline the distinct effects of different sound types, and we discuss implications for the design of sound in video games.
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Al-Zuhayre, Mahmoud Hussein Ahmad. "The effect of sound and rhythm in highlighting the Quranic image." Journal of Social Sciences (COES&RJ-JSS) 10, no. 1 (January 1, 2021): 95. http://dx.doi.org/10.25255/jss.2021.10.1.95.118.
Full textAbstract:
This research was studied on the effect of sound in highlighting the Qur’anic image, so it took a descriptive approach to analysis. Without a performance, then the search for the description with words to represent the performance was to approximate the meaning and the image and approximate the oral Quranic performance. The research concluded that the sound showed the image and meaning previously in that lexical meaning, and it was noticed that the image came from many words and vocabulary in order to clearly highlight the image and the meaning, and that the sound sometimes overcomes the dictionary meaning and precedes it among the recipients in understanding, as much of the phonemic performance was not mentioned in the dictionaries due to Because of its lack of form in words, the research noticed that any movement, sound, or rhythm in the Holy Qur’an is not devoid of the meaning of a goal or an intended goal, so the sound lies behind the meaning and moves the image and makes it clear.
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Pesek, Albinca, and Tomaž Bratina. "Gong and Its Therapeutic Meaning." Musicological Annual 52, no. 2 (December 9, 2016): 137–61. http://dx.doi.org/10.4312/mz.52.2.137-161.
Full textAbstract:
The study, which was conducted utilising a sample of 129 users of sound baths with gongs in 2015 in Slovenia, has shown that all users define the effect of sound vibrations as healing and/or relaxing. They testified on achieving durable inner peace, on better physical and mental wellbeing, fresh impetus for work, desire for personal growth and other positive effects.
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Corvasce, Caroline, Martine Gadille, and Joséphine Rémon. "Sensoriality and pupil immersive meaning making in a virtual secondary school: A pedagogical avatarial interaction." SHS Web of Conferences 130 (2021): 02002. http://dx.doi.org/10.1051/shsconf/202113002002.
Full textAbstract:
We present a study of avatarial interactions in a pedagogical virtual 3D world. We find that there are variations as regards the three dimensions of immersion, symbolic, bodily and social, according to the academic profile of the pupils. The class with a lower mastery of academic skills in maths, French, English and a second language, was found to be more involved with the symbolic immersion aspects, and less with aspects of bodily and social immersion, whereas the class group with a higher mastery of academic skills presented the opposite features. When merging the two class groups, it was the medium high score group that was found to present salient features, namely high indicators as far as the three forms of immersion were concerned.
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Melnikova, Irina. "Immersion between Semiotic Theories." Semiotika 17 (December 12, 2022): 110–61. http://dx.doi.org/10.15388/semiotika.2022.27.
Full textAbstract:
The paper focuses on the book of poetry immersion (2017) by Lithuanian poet Gytis Norvilas, maps the strategies of its reading within the framework of the semiotic-pragmatic approach, and considers the theoretical issues of the mapping. Despite the book cannot be unambiguously defined as an example of patterned poetry, it is configured in a specific way which exposes the functionality of the structural visual layer in written / printed poetry. This feature of the text in question inspires to revise the interpretation of the issue of iconicity and the configuration of the model of reading literature, proposed by the semiotic-pragmatic approach. The semiotic-pragmatic modelling combines Peircean and Jakobsonian ideas with minor insertions of Lotmanian thought (i.e. Johansen 2002), thus it links the ideas from the conceptual systems, based on different epistemological grounds (Peircean vs Saussurean notion of sign). It creates theoretical tensions that force to raise the question of how the transference of notions from one system to another changes their meaning, and where one could find the basis for overcoming or bypassing the controversies. The first part of the paper explores the theoretical tensions between Peircean, Jakobsonian and Lotmanian approaches to the issues of iconicity and attempts at revealing the fields of theoretical reasoning that help to define the ground of contradictions and see the way of their bypassing. Besides, it relates the discussion of iconicity with a discussion of the semiotic-pragmatic model of reading as iconization, based on the Jakobsonian idea of intersemiotic translation, and revises the model concerning the printed poetic text. The second part of the paper exemplifies the theoretical issues in the analysis of the book of poetry immersion. It examines the process of diagrammatization – the reading strategy, which makes the syntax of the text and that of the book the meaning-making devices, shows how diagrammatization semantizes the structure of the book, transforms the process of imaginization, and helps to identify the role of the book’s dialogue with hypotext to which both intertextual references and the structure of the text refer.