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Journal articles on the topic 'Sound repetitions'
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Simchy-Gross, Rhimmon, and Elizabeth Hellmuth Margulis. "The sound-to-music illusion." Music & Science 1 (January 1, 2018): 205920431773199. http://dx.doi.org/10.1177/2059204317731992.
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The speech-to-song illusion tracks a perceptual transformation across repetitions where a stimulus that originally sounded like speech comes to sound like song. This article examines whether the illusion also generalizes to other kinds of nonspeech sounds. Participants heard each of 20 environmental sound clips repeated in either original or jumbled form. They rated the musicality of the clips on a 5-point scale where 1 represented sounds exactly like environmental sound and 5 sounds exactly like music. Average ratings increased significantly across repetitions, suggesting that the speech-to-song illusion is one form of a more general sound-to-music illusion produced by repetition. This illusion occurred regardless of whether the clips were repeated in original or jumbled form, marking a difference compared to speech, for which the illusion only occurred if the repetitions were exact.
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Ringer, Hanna, Erich Schröger, and Sabine Grimm. "Neural signatures of automatic repetition detection in temporally regular and jittered acoustic sequences." PLOS ONE 18, no. 11 (November 10, 2023): e0284836. http://dx.doi.org/10.1371/journal.pone.0284836.
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Detection of repeating patterns within continuous sound streams is crucial for efficient auditory perception. Previous studies demonstrated a remarkable sensitivity of the human auditory system to periodic repetitions in unfamiliar, meaningless sounds. Automatic repetition detection was reflected in different EEG markers, including sustained activity, neural synchronisation, and event-related responses to pattern occurrences. The current study investigated how listeners’ attention and the temporal regularity of a sound modulate repetition perception, and how this influence is reflected in different EEG markers that were previously suggested to subserve dissociable functions. We reanalysed data of a previous study in which listeners were presented with sequences of unfamiliar artificial sounds that either contained repetitions of a certain sound segment or not. Repeating patterns occurred either regularly or with a temporal jitter within the sequences, and participants’ attention was directed either towards the pattern repetitions or away from the auditory stimulation. Across both regular and jittered sequences during both attention and in-attention, pattern repetitions led to increased sustained activity throughout the sequence, evoked a characteristic positivity-negativity complex in the event-related potential, and enhanced inter-trial phase coherence of low-frequency oscillatory activity time-locked to repeating pattern onsets. While regularity only had a minor (if any) influence, attention significantly strengthened pattern repetition perception, which was consistently reflected in all three EEG markers. These findings suggest that the detection of pattern repetitions within continuous sounds relies on a flexible mechanism that is robust against in-attention and temporal irregularity, both of which typically occur in naturalistic listening situations. Yet, attention to the auditory input can enhance processing of repeating patterns and improve repetition detection.
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Lebrun, Yvan, and John Van Borsel. "Final sound repetitions." Journal of Fluency Disorders 15, no. 2 (April 1990): 107–13. http://dx.doi.org/10.1016/0094-730x(90)90037-s.
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Kubit, Benjamin M., Christine Deng, Adam Tierney, and Elizabeth H. Margulis. "Rapid Learning and Long-term Memory in the Speech-to-song Illusion." Music Perception: An Interdisciplinary Journal 41, no. 5 (June 1, 2024): 348–59. http://dx.doi.org/10.1525/mp.2024.41.5.348.
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The speech-to-song illusion is a perceptual transformation in which a spoken phrase initially heard as speech begins to sound like song across repetitions. In two experiments, we tested whether phrase-specific learning and memory processes engaged by repetition contribute to the illusion. In Experiment 1, participants heard 16 phrases across two conditions. In both conditions, participants heard eight repetitions of each phrase and rated their experience after each repetition using a 10-point scale from “sounds like speech” to “sounds like song.” The conditions differed in whether the repetitions were heard consecutively or interleaved such that participants were exposed to other phrases between each repetition. The illusion was strongest when exposures to phrases happened consecutively, but phrases were still rated as more song-like after interleaved exposures. In Experiment 2, participants heard eight consecutive repetitions of each of eight phrases. Seven days later, participants were exposed to eight consecutive repetitions of the eight phrases heard previously as well as eight novel phrases. The illusion was preserved across a delay of one week: familiar phrases were rated as more song-like in session two than novel phrases. The results provide evidence for the role of rapid phrase-specific learning and long-term memory in the speech-to-song illusion.
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Conture, Edward G., Howard D. Schwartz, and David W. Brewer. "Laryngeal Behavior during Stuttering." Journal of Speech, Language, and Hearing Research 28, no. 2 (June 1985): 233–40. http://dx.doi.org/10.1044/jshr.2802.233.
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The purpose of this study was to provide detailed, objective descriptions of stutterers' laryngeal behavior during instances of stuttering within conversational speech. Subjects were 11 adult stutterers who produced stutterings (sound prolongations and sound/syllable repetitions) while their laryngeal behaviors were observed by means of a flexible fiber-optic nasolaryngoscope (fiberscope). Laryngeal behaviors during 86 of the 11 stutterers' stutterings were categorized as adducted, intermediate, or abducted. Results indicate that during sound prolongations the vocal folds were more likely to be adducted and less variable in their movement than during sound/syllable repetitions. Results further indicated that the voicing characteristics of the stuttered sound (voiceless vs. voiced) and the type of stuttering (sound prolongation vs. sound/syllable repetition) interactively influenced laryngeal behavior. It is hypothesized that a complex interaction among the laryngeal, articulatory, and respiratory systems contribute to the occurrence of the inappropriate abductory and/or adductory laryngeal behavior which characterizes prolonged or repeated (stuttered) speech segments.
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Zebrowski, Patricia M. "Duration of the Speech Disfluencies of Beginning Stutterers." Journal of Speech, Language, and Hearing Research 34, no. 3 (June 1991): 483–91. http://dx.doi.org/10.1044/jshr.3403.183.
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This study compared the duration of within-word disfluencies and the number of repeated units per instance of sound/syllable and whole-word repetitions of beginning stutterers to those produced by age- and sex-matched nonstuttering children. Subjects were 10 stuttering children [9 males and 1 female; mean age 4:1 (years:months); age range 3:2–5:0], and 10 nonstuttering children (9 males and 1 female; mean age 4:0; age range: 2:10–5:1). Mothers of the stuttering children reported that their children had been stuttering for 1 year or less. One 300-word conversational speech sample from each of the stuttering and nonstuttering children was analyzed for (a) mean duration of sound/syllable repetition and sound prolongation, (b) mean number of repeated units per instance of sound/syllable and whole-word repetition, and (c) various related measures of the frequency of all between- and within-word speech disfluencies. There were no significant between-group differences for either the duration of acoustically measured sound/syllable repetitions and sound prolongations or the number of repeated units per instance of sound/syllable and whole-word repetition. Unlike frequency and type of speech disfluency produced, average duration of within-word disfluencies and number of repeated units per repetition do not differentiate the disfluent speech of beginning stutterers and their nonstuttering peers. Additional analyses support findings from previous perceptual work that type and frequency of speech disfluency, not duration, are the principal characteristics listeners use in distinguishing these two talker groups.
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Daikhin, Luba, Ofri Raviv, and Merav Ahissar. "Auditory Stimulus Processing and Task Learning Are Adequate in Dyslexia, but Benefits From Regularities Are Reduced." Journal of Speech, Language, and Hearing Research 60, no. 2 (February 2017): 471–79. http://dx.doi.org/10.1044/2016_jslhr-h-16-0114.
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Purpose The reading deficit for people with dyslexia is typically associated with linguistic, memory, and perceptual-discrimination difficulties, whose relation to reading impairment is disputed. We proposed that automatic detection and usage of serial sound regularities for individuals with dyslexia is impaired (anchoring deficit hypothesis), leading to the formation of less reliable sound predictions. Agus, Carrión-Castillo, Pressnitzer, and Ramus, (2014) reported seemingly contradictory evidence by showing similar performance by participants with and without dyslexia in a demanding auditory task that contained task-relevant regularities. To carefully assess the sensitivity of participants with dyslexia to regularities of this task, we replicated their study. Method Thirty participants with and 24 without dyslexia performed the replicated task. On each trial, a 1-s noise stimulus was presented. Participants had to decide whether the stimulus contained repetitions (was constructed from a 0.5-s noise segment repeated twice) or not. It is implicit in this structure that some of the stimuli with repetitions were themselves repeated across trials. We measured the ability to detect within-noise repetitions and the sensitivity to cross-trial repetitions of the same noise stimuli. Results We replicated the finding of similar mean performance. However, individuals with dyslexia were less sensitive to the cross-trial repetition of noise stimuli and tended to be more sensitive to repetitions in novel noise stimuli. Conclusion These findings indicate that online auditory processing for individuals with dyslexia is adequate but their implicit retention and usage of sound regularities is indeed impaired.
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Vekshin, Georgy V., Mickhail N. Gertzev, and Yaroslav E. Loskot. "Automatic Detection of Sound Repetitions in Verse: Realising the Syllabocentric Approach in the Phonotext Program." RUDN Journal of Language Studies, Semiotics and Semantics 12, no. 3 (October 3, 2021): 597–618. http://dx.doi.org/10.22363/2313-2299-2021-12-3-597-618.
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The article presents approaches to the automatic detection of sound repetitions and the measurement of sound coherence in Russian poetic text basing on the syllabocentric concept of the sound texture of the verse, which distinguishes the phonosyllabeme as its main operational unit and determines the main types of relations between the elements of repetition - equiphony and metaphony - and also allows describe the text in its unity of sound-segmental and rhythmic structure. The paper considers the linguistic prerequisites, main algorithms and methods, which form the basis of the PHONOTEXT computer program (web application), which automatically analyzes and visually forms the picture of the sound composition of the text presenting its quantitative characteristics. The basic operations of the program are described in detail, as well as the mathematical formulas used to identify the structure and carry out mathematical measurement of sound repetitions in Russian poetic speech. The article discusses the results of the programs use for the comparative study of poetry and prose, individual works and individual styles of Russian poets. In particular, the data obtained using the Phonotext program allows us to speak of a tendency towards syntagmatic consolidation of the phonosyllabeme and intensive granulation of the sound texture of the text in the individual style of Osip Mandelstam as the evidence of his striving for poetic morphologization of the elements of sound repetition, it also shows a tendency towards the use of the dominant sound theme as a means for cohesion of a complex syntactic and compositional whole, in contrast to Vladimir Nabokovs idiostyle, which is characterized by its orientation towards splitting up the elements of repetition, with a relatively chaotic interaction and spreading of consonances over the text and their low activity as a means of syntagmatic segmentation and consolidation of the text. The prospects for the development of the Phonotext program are described for identifying the relations of segment-sound and prosodic parallelism in speech (relations of equirhythmy and equiphony, including rhyme), which will provide an automatic presentation of a complete picture of the sound composition, the interaction of its main forms in the text and its further functional description.
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FAGAN, MARY K. "Mean Length of Utterance before words and grammar: Longitudinal trends and developmental implications of infant vocalizations." Journal of Child Language 36, no. 3 (October 16, 2008): 495–527. http://dx.doi.org/10.1017/s0305000908009070.
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ABSTRACTThis study measured longitudinal change in six parameters of infant utterances (i.e. number of sounds, CV syllables, supraglottal consonants, and repetitions per utterance, temporal duration, and seconds per sound), investigated previously unexplored characteristics of repetition (i.e. number of vowel and CV syllable repetitions per utterance) and analyzed change in vocalizations in relation to age and developmental milestones using multilevel models. Infants (N=18) were videotaped bimonthly during naturalistic and semi-structured activities between 0 ; 3 and the onset of word use (M=11·8 months). Results showed that infant utterances changed in predictable ways both in relation to age and in relation to language milestones (i.e. reduplicated babble onset, word comprehension and word production). Looking at change in relation to the milestones of language development led to new views of babbling, the transition from babbling to first words, and processes that may underlie these transitions.
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Zebrowski, Patricia M. "Duration of Sound Prolongation and Sound/Syllable Repetition in Children Who Stutter." Journal of Speech, Language, and Hearing Research 37, no. 2 (April 1994): 254–63. http://dx.doi.org/10.1044/jshr.3702.254.
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The purpose of this study was to measure the duration of sound prolongations and sound/syllable repetitions (stutterings) in the conversational speech of school-age children who stutter. The relationships between duration and (a) frequency and type of speech disfluency, (b) number and rate of repeated units per instance of sound/syllable repetition, (c) overall speech rate, and (d) articulatory rate were also examined. Results indicated that for the children in this study the average duration of stuttering was approximately three-quarters of a second, and was not significantly correlated with age, length of post-onset interval, or frequency of speech disfluency. In addition, findings can be taken to suggest that part of the clinical significance of stuttering duration for children who stutter might lie in its relationship to the amount of sound prolongations these children produce, as well as their articulatory rate during fluent speech.
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Zebrowski, Patricia M., and Edward G. Conture. "Judgments of Disfluency by Mothers of Stuttering and Normally Fluent Children." Journal of Speech, Language, and Hearing Research 32, no. 3 (September 1989): 625–34. http://dx.doi.org/10.1044/jshr.3203.625.
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The purpose of this study was to examine the relation between selected aspects of speech disfluency and perceptual judgments of these events by mothers of young stutterers and mothers of age- and sex-matched normally fluent children. Each mother independently listened to and judged as either "stuttered" or "not stuttered" recorded examples of a young stutterer's imitated productions of: (a) five different types of speech disfluency, (b) sound prolongations, and (c) sound/syllable repetitions of five different durations each, along with a comparable number of fluent utterances. Results indicated that although some between-group differences in judgments were observed, both groups most frequently judged sound/syllable repetitions to be stuttered, followed by whole-word repetitions and broken words. Fluent utterances, interjections, and sound prolongations were most frequently judged to be not stuttered by all mothers. Both groups judged sound prolongations averaging 258 ms in duration to be stuttered an average of 25% of the time, increasing to 68% for sound prolongations averaging 1254 ms; however, both groups of mothers judged sound/syllable repetitions of two or more iterations to be stuttered an average of 93% of the time. Findings suggest that there are not appreciable differences between mothers of stuttering and normally fluent children regarding their perceptual judgments of speech disfluencies, but each group might more frequently judge as stuttered those types of speech disfluencies characteristic of their own children's speech.
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Guitar, Barry E. "Stuttering and Stammering." Pediatrics In Review 7, no. 6 (December 1, 1985): 163–68. http://dx.doi.org/10.1542/pir.7.6.163.
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Stuttering is a disorder characterized by intermittent difficulty in producing a smooth flow of speech. Stutterers may repeat or prolong sounds or may sometimes be unable to utter any sound without a great deal of effort. The disorder usually begins a year or two after the child has first learned to speak. The earliest symptoms are usually repetitions of parts of words. Signs of the problem may gradually progress, in a matter of months or during a period of several years, from these minor repetitions to prolongations of sounds, longer hesitations, and complete blockings of speech. Accessory signs and symptoms such as facial squeezing, tremors of the speech musculature, and eye blinks, as well as fear and avoidance of particular words and situations, often occur in more severe cases. At times stuttering may be "internal," ie, apparent only to the child involved, or manifested only by pauses in speech. TERMINOLOGY Stuttering v Stammering "Stammering" is a term no longer in common usage in the United States. It is still used in Europe, as it was once used here, to denote tense blockages of speech, as opposed to "stuttering," which was applied to the repetition of sounds and syllables. Current usage in this country favors the term "stuttering" for all forms of the disorder.
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JENSEN, KRISTOFFER. "Atomic noise." Organised Sound 10, no. 1 (April 2005): 75–81. http://dx.doi.org/10.1017/s1355771805000695.
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Stochastic, unvoiced sounds are abundant in music and musical sounds. Without irregularities, the music and sounds become dull and lifeless. This paper presents work on unvoiced sounds that is believed to be useful in noise music. Several methods for obtaining a gradual change towards static white noise are presented. The random values (Dice), random events (Geiger) and random frequencies (Cymbal) noise types are shown to produce many useful sounds. Atomic noise encompasses all three noise types, while adding much more subtle variations and more life to the noise. Methods for obtaining a harmonic sound from the noise are introduced. These methods take advantage of the stochastic nature of the model, facilitating a gradual change from the stochastic sound to the noisy harmonic sound. In addition, the frozen noise repetitions are shown to produce unexpected pitch jumps with a potentially useful musical structure.
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Kharismadewi, Yonnie, Ike Revita, and Rina Marnita AS. "A praat-based stuttering analysis of the main character in the king’s speech movie: a neuropsycholinguistic study." Journal of Applied Studies in Language 7, no. 1 (July 26, 2023): 56–65. http://dx.doi.org/10.31940/jasl.v7i1.56-65.
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Stuttering is a speech disorder characterized by involuntary repetitions or prolongations of words or syllables, or by involuntary interruptions in the flow of speech, known as blocks. Stuttering can happen due to genetics and environmental factors or psychogenic. This research aims to identify the types of stuttering that occur and to explain the factors that contribute to stuttering and the effect on the main character's speech fluency in the movie "The King's Speech." The data for this research comes from The King's Speech movie. The descriptive qualitative approach was used in this study in which the method and technique used in collecting the data were the observation method and the technique consists of observing, recording using Praat as a speech analyzer, and noting. The data were analyzed using the referential and distributional methods. Based on the result of the data analysis, the number of data for the type of stuttering is 286 data, each of them consisting of 158 data for repetition, 124 data for blocking, and 4 data for prolongation. In analyzing Bertie’s utterance, Bertie, as the main character, found a problem in producing consonants that cause stuttering, the consonants consist of /m/, /k/, /b/, /p/, /y/, /ch/, /th/, / c/, /g/, /w/ , /h/, /f/, /n/, /d/, and /s/ with repetition of sounds in words starting with phonemes /m/, /p/, /k/ and /b/ predominates when stuttering occurs. Meanwhile, the repetitions of vowel sounds that often occur are /a/, /i/, /o/, /e/ and the vowel sounds /a/ and /i/ dominate each repetition sound. Besides the problem in producing consonants and vowels in utterance, psychological factors are also the main factors in the occurrence of stuttering, such as feelings of depression, anger, and anxiety that trigger the main character to produce speech-blocking. Therefore, the type of stuttering experienced by the main character is psychogenic stuttering.
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Tierney, Adam, Aniruddh D. Patel, and Mara Breen. "Repetition Enhances the Musicality of Speech and Tone Stimuli to Similar Degrees." Music Perception 35, no. 5 (June 1, 2018): 573–78. http://dx.doi.org/10.1525/mp.2018.35.5.573.
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Certain spoken phrases, when removed from context and repeated, begin to sound as if they were sung. Prior work has uncovered several acoustic factors that determine whether a phrase sounds sung after repetition. However, the reason why repetition is necessary for song to be perceived in speech is unclear. One possibility is that by default pitch is not a salient attribute of speech in non-tonal languages, as spectral information is more vital for determining meaning. However, repetition may satiate lexical processing, increasing pitch salience. A second possibility is that it takes time to establish the precise pitch perception necessary for assigning each syllable a musical scale degree. Here we tested these hypotheses by asking participants to rate the musicality of spoken phrases and complex tones with matching pitch contours after each of eight repetitions. Although musicality ratings were overall higher for the tone stimuli, both the speech and complex tone stimuli increased in musicality to a similar degree with repetition. Thus, although the rapid spectral variation of speech may inhibit pitch salience, this inhibition does not decrease with repetition. Instead, repetition may be necessary for the perception of song in speech because the perception of exact pitch intervals takes time.
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Ceuterick, Maud. "Rawr: Kitchen, rage, Judith and I." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 21, no. 1 (January 31, 2024): 97–98. http://dx.doi.org/10.5209/tekn.90496.
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Through aggressive repetitions and superimpositions of sound and images, this video (essay) proposes to give an audiovisual form to Judith Butler’s theorisation of gender as a performance made of repetitions of stylised acts. This experimental film creates a formal or ‘autopoetic’ manifestation of the rage that generations of feminist theorists and filmmakers have expressed at the idealised and uninhabitable embodiment of gender.
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SVETLICHNAYA, V. YU. "Functioning and structure of sound repetitions in artistic style texts." Вестник Московского государственного лингвистического университета. Гуманитарные науки, no. 3 (2023): 96–103. http://dx.doi.org/10.52070/2542-2197_2023_3_871_96.
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Ediyono, Suryo, and Sopyan Ali. "Foregrounding and Metaphor: A Stylistic Study on Hamza Yusuf’s Religious Poems." Theory and Practice in Language Studies 9, no. 6 (June 1, 2019): 746. http://dx.doi.org/10.17507/tpls.0906.21.
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Poetry not only communicates information but also arouses the readers’ feeling to a thoughtful sense and the life’s perception of the author through parable objects. Poetry could be perceptually prominent if it is expressed through linguistic deviation, which further defined as “foregrounding”. This article is an attempt to provide understandings from the analysis of Shaykh Hamza Yusuf’s religious poems that engage both semantic and sound patterns (phonological) analyses. The semantic level of the poems dealt with metaphorical analysis as realized in several lines that observed the foregrounded words, phrase and sentences which are semantically deviant, and are classifiable into personification and depersonification. At the phonological level, the sounds patterns cover the use of certain sounds found on major lines of both poems, the distribution of similar sound patterns can produce the aesthetic effects, the common observed styles found in Hamza Yusuf’s religious poems are the repetitions or anaphora, assonance, alliteration, rhythmic sounds of the beginning, in- and end rhymes, and the middle rhyme.
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Wiranda, Nuruddin, and Agfianto Eko Putro. "Model Identifikasi Kata Ucapan Tuna Wicara." IJEIS (Indonesian Journal of Electronics and Instrumentation Systems) 9, no. 2 (October 31, 2019): 131. http://dx.doi.org/10.22146/ijeis.47609.
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Speech impaired is the inability of someone to speak, even though speaking ability is important in order to communicate with other people. Dealing with this as someone who has speech impairments has their own way of communicating, namely by using sign language, but not everyone understands the sign language. The MFCC and Backpropagation ANN methods are implemented on a Single Board Computer (SBC) designed to overcome speech impaired communication problems. The MFCC method is used to retrieve the features of speech impairment and the Backpropagation ANN is used for sound pattern recognition.The system was trained using 750 sound samples consisting of 5 speakers, each uttering as many as 30 repetitions of the pronunciation of words (makan, kamar, kerja, harga and lapar), then tested using 125 sound samples consisting of 5 speakers, each saying 5 repetitions of words. Training and testing of Backpropagation ANN using input coefficients generated from MFCC. The results showed that the MFCC and Backpropagation ANN methods were able to identify speech words with 60% accuracy, 40% precision and 40% sensitivity.
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Paredes-Ramos, Pedro, Joanna V. Diaz-Morales, Manuel Espinosa-Palencia, Genaro A. Coria-Avila, and Apolo A. Carrasco-Garcia. "Clicker Training Accelerates Learning of Complex Behaviors but Reduces Discriminative Abilities of Yucatan Miniature Pigs." Animals 10, no. 6 (May 31, 2020): 959. http://dx.doi.org/10.3390/ani10060959.
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Animal training is meant to teach specific behavioral responses to specific cues. Clicker training (CT) is a popular training method based on the use of a device that emits a sound of double-click to be associated as a first-order conditioned stimulus in contingency with positive reinforcements. After some repetitions, the clicker sound gains some incentive value and can be paired with the desired behavior. Animal trainers believed that CT can decrease training time compared to other types of training. Herein, we used two-month old miniature piglets to evaluate whether CT decreased the number of repetitions required to learn complex behaviors as compared with animals trained with voice instead of the clicker. In addition, we compared the number of correct choices of animals from both groups when exposed to object discriminative tests. Results indicated that CT decreased the number of repetitions required for pigs to learn to fetch an object but reduced the ability of animals to make correct choices during the discriminate trials. This suggests that CT is more efficient than voice to teach complex behaviors but reduces the ability of animals to use cognitive processes required to discriminate and select objects associated with reward.
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Sadigova, Ayten Pilahga kyzy. "OPTIONS OF PHRASEOLOGICAL UNITS CONTAINING TEONIMA IN THE AZERBAIJAN LANGUAGE." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 2 (December 15, 2019): 373–80. http://dx.doi.org/10.22363/2313-2299-2019-10-2-373-380.
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In the article, the idea is put forward that in the phraseological system of the Azerbaijani language, alliteration and assonances are less active in the manifestations than in other languages. Comparative analysis of theonyms and demonims in composite phraseological units in the Azerbaijani language shows that a sufficient degree of functionality is demonstrated here not only by the presence of types of sound reproduction of both sound repetitions, but also by the widespread joint (alliterativeassonance) model of figurative phonetic image techniques.
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Nozaradan, Sylvie, André Mouraux, and Marion Cousineau. "Frequency tagging to track the neural processing of contrast in fast, continuous sound sequences." Journal of Neurophysiology 118, no. 1 (July 1, 2017): 243–53. http://dx.doi.org/10.1152/jn.00971.2016.
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The human auditory system presents a remarkable ability to detect rapid changes in fast, continuous acoustic sequences, as best illustrated in speech and music. However, the neural processing of rapid auditory contrast remains largely unclear, probably due to the lack of methods to objectively dissociate the response components specifically related to the contrast from the other components in response to the sequence of fast continuous sounds. To overcome this issue, we tested a novel use of the frequency-tagging approach allowing contrast-specific neural responses to be tracked based on their expected frequencies. The EEG was recorded while participants listened to 40-s sequences of sounds presented at 8Hz. A tone or interaural time contrast was embedded every fifth sound (AAAAB), such that a response observed in the EEG at exactly 8 Hz/5 (1.6 Hz) or harmonics should be the signature of contrast processing by neural populations. Contrast-related responses were successfully identified, even in the case of very fine contrasts. Moreover, analysis of the time course of the responses revealed a stable amplitude over repetitions of the AAAAB patterns in the sequence, except for the response to perceptually salient contrasts that showed a buildup and decay across repetitions of the sounds. Overall, this new combination of frequency-tagging with an oddball design provides a valuable complement to the classic, transient, evoked potentials approach, especially in the context of rapid auditory information. Specifically, we provide objective evidence on the neural processing of contrast embedded in fast, continuous sound sequences. NEW & NOTEWORTHY Recent theories suggest that the basis of neurodevelopmental auditory disorders such as dyslexia might be an impaired processing of fast auditory changes, highlighting how the encoding of rapid acoustic information is critical for auditory communication. Here, we present a novel electrophysiological approach to capture in humans neural markers of contrasts in fast continuous tone sequences. Contrast-specific responses were successfully identified, even for very fine contrasts, providing direct insight on the encoding of rapid auditory information.
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Blake, David T., and Michael M. Merzenich. "Changes of AI Receptive Fields With Sound Density." Journal of Neurophysiology 88, no. 6 (December 1, 2002): 3409–20. http://dx.doi.org/10.1152/jn.00233.2002.
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Primates engage in auditory behaviors under a broad range of signal-to-noise conditions. In this study, optimal linear receptive fields were measured in alert primate primary auditory cortex (A1) in response to stimuli that vary in spectrotemporal density. As density increased, A1 excitatory receptive fields systematically changed. Receptive field sensitivity, expressed as the expected change in firing rate after a tone pip onset, decreased by an order of magnitude. Spectral selectivity more than doubled. Inhibitory subfields, which were rarely recorded at low sound densities, emerged at higher sound densities. The ratio of excitatory to inhibitory population strength changed from 14.4:1 to 1.4:1. At low sound densities, the sound associated with the evocation of an action potential from an A1 neuron was broad in spectrum and time. At high sound densities, a spike-evoking sound was more likely to be a spectral or temporal edge and was narrower in time and frequency range. Receptive fields were used to predict responses to a novel high-noise-density stimulus. The predictions were highly correlated with the actual responses to the 2-s complex sound excerpt. The structure of prediction failures revealed that neurons with prominent inhibitory fields had relatively poor linear predictions. Further, the finding that stochastic variance is limiting in prediction even after averaging 150 repetitions means that high-fidelity representations of simple sounds in A1 must be distributed over at least hundreds of neurons. Auditory context alters A1 responses across multiple parameter spaces; this presents a challenge for reconstructing neural codes.
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MOLCHANOV, ANDREY S. "G. LIGETI’S WORK WITH SINGLE-TONE STRUCTURES." Университетский научный журнал, no. 83 (December 29, 2024): 133–39. https://doi.org/10.25807/22225064_2024_83_133.
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The article is devoted to the works of G. Ligeti of the 1950-1960s, which present the tendency of organising a composition by means of a single tone. The starting point is the question formulated by the composer: “What can I do with a single note?”, which he solves in different ways. In the earlier cycle of “Musica ricercata” Ligeti most strictly follows the chosen pitch, relies on repetitions of one tempered sound scattered over all octaves, applies a change in texture density, tempo, dynamics, register. In a later Concerto for Cello and Orchestra, the composer prefers the sonoristic interpretation of sound, its spatial form of presentation, timbre and articulation gradations. As a result, Ligeti overcomes the experimental context of using singletone sound structures, making them part of a meaningful sound concept aimed at discovering a rich microcosm of sound connections and relationships.
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Gura, Aleksandr. "On an archaic way of motivation of meaning in interpretation of dreams." Slavic Almanac, no. 3-4 (2018): 373–84. http://dx.doi.org/10.31168/2073-5731.2018.3-4.5.03.
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The article describes ways of interpretation of dreams based on language assonance (rhyme, anaphora, anagram etc.) as a specific type of verbal magic. The genre of interpretation of dreams is defined through the archaic function of divination and prophecy applied in the process of interpretation, as well as through language archaism of magic qualities of sound repetitions that shape a binary interpretive formula. Motivation of symbolic meanings based on sound proximity of words give an idea about ways of creating a mythopoetic image of the world and peculiarities of archaic language thinking.
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Amorim, Maria Clara P., Marti L. McCracken, and Michael L. Fine. "Metabolic costs of sound production in the oyster toadfish, Opsanus tau." Canadian Journal of Zoology 80, no. 5 (May 1, 2002): 830–38. http://dx.doi.org/10.1139/z02-054.
Full textAbstract:
The energetics of mate calling has been studied in insects, frogs, birds, and mammals, but not in fishes. The oyster toadfish, Opsanus tau, produces a boatwhistle advertisement call using one of the fastest muscles known in vertebrates. Because toadfish will not boatwhistle in a respirometer, we measured oxygen consumption after eliciting sound production by electrically stimulating the sonic swim bladder muscle nerve. Induced sounds were similar to a male calling at a rapid rate. Stimulation of the sonic nerve increased the respiration rate by 4060% in males, but they became agitated. Repeating the experiment decreased agitation, and in most fish respiration rates approximated control levels by the second or third replication. Elicited sounds and therefore sonic-muscle performance were similar in all repetitions, hence it appears that the increased oxygen consumption in the first trial was caused by the fish's agitation. Controls indicated that electrode implantation and electrical stimulation of the body cavity did not affect the respiration rate. We suggest that allocation of a small amount of the total energy budget to sound production is reasonable in toadfish, and probably most other fish species, because of the small amount of time that the sonic muscles actually contract and their small size (about 1% of body mass).
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Dubova, Agnese. "Rekurence kā teksta saistījuma līdzeklis latviešu zinātniskajos rakstos." Vārds un tā pētīšanas aspekti: rakstu krājums = The Word: Aspects of Research: conference proceedings, no. 26 (November 23, 2022): 211–18. http://dx.doi.org/10.37384/vtpa.2022.26.211.
Full textAbstract:
Text cohesion can be achieved through grammatical and lexico-semantic means. Lexico-semantic means used in text cohesion can be defined as recurrence, as in Latin, the word recurrere means returning to a previous utterance or repeating it. Repetition of lexico-semantic means in the text can be named using a foreign word in the Latvian language, rekursija (recursion in English). In Latvian, the concept rekursija is related to phonology, defining it as ‘the final part of pronouncing a sound, in which speech organs deviate from the previously assumed state characteristic of a particular sound’ (translated from Latvian of the entry in Tēzaurs 2022). Recursion in English linguistics is often understood as the sequential use of grammatical structures, while in German text linguistics, the concept Rekurrenz is defined as the repetition of similar language means, elements, and forms in the text. The research goal is to identify types of cohesive devices used in scientific articles in the Latvian language. The research focuses on full or partial repetition of such cohesive devices as words and word collocations, substitution, etc. in the scientific texts in Latvian that have been included in the Corpus of Latvian Scientific Articles. The Corpus comprises 1401 texts published between 2008 and 2018 covering six scientific branch groups. A qualitative research method, content analysis, has been used. It can be concluded that scientific texts in Latvian contain exact repetitions, partial recurrence, ellipsis, and substitution as lexico-semantic cohesive devices. Research findings show the different density of recurrence means used in scientific articles in different scientific branches and how relatable the used recurrence means are to the article’s title and the indicated key words.
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Pimonov, V. I. "TATYANA’S DREAM AS A FORESHADOWING OF ONEGIN’S DEATH." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 89 (2023): 86–91. http://dx.doi.org/10.37313/2413-9645-2023-25-89-86-91.
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Object of the article: Tatyana's dream in the novel in verse by A. S. Pushkin "Eugene Onegin" (EO, V, XI-XXI). Subject of the article: the poetics of Tatyana’s dream. Purpose of research: discovering the role of the dream in the compositional structure of the novel. Results: the author argues that the final scene of Tatyana’s dream, in which Onegin kills Lensky with a knife, is, in fact, a covert foreshadowing of the symbolic death of Onegin himself at the end of the novel (EO, 8, XLVIII, 1-10). The motif of the protagonist's death is concealed in the letter-sound pattern of the text that contains an anagram of the word knife (nozh). Tense repetition of sounds н-ж-ш (n-zh-sh) throughout the novel creates a connection between the erotic motif in the stanzas devoted to praising women's "legs" (nozhki) and the motif of death from a "knife" (nozh) strike. An echo of the motif of women's "legs" (nozhki) in Tatyana's prenuptial dream ("To v hrupkom snege s nozhki miloj / Uvjaznet mokryj bashmachok") acoustically foreshadows the appearance of a long "knife" (nozh), which has a double meaning: as a murder weapon and a phallic symbol. In the final scene of the novel, the motif of legs [noshki] and the motif of the knife [nosh] are unexpectedly combined in a sound pun “no shpor nezapnyj zvon razdalsja” (8, XLVIII) in which the knife [nosh] is phonetically connected with the spur [no-shpor] that is a metonymic replacement of the foot. Field of application: literary criticism, Pushkin studies, teaching Russian literature of the 19th century. Conclusion: Tatyana's dream contains not only an obvious foreshadowing of the real death of Lensky in a duel, which has been repeatedly mentioned in Pushkin studies, but also a covert foreshadowing of Onegin's symbolic death. The possibility of this alternative semantic interpretation of the dream is based on the sound pattern of the text (repetitions, anagram).
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., Kasiyarno, and Japen Sarage. "HIDDEN OR COGNITIVE RHYMES AND DIRTY JOKE IN JAVANESE PUN." Humanities & Social Sciences Reviews 7, no. 3 (April 28, 2019): 298–305. http://dx.doi.org/10.18510/hssr.2019.7345.
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Purpose: This article tries to overview different forms of rhyme in Javanese literature to exhibit the existence of possible distinct rhymes in it. This article puts more emphasis on the logical riddle of wangsalan, which invites readers to frown at it. This kind of rhyme may be unclassified in English so that it may be proper to name it cognitive rhyme. This article also tries to see the use of repetition in a Javanese pun, which can be considered to be a dirty joke.
Methodology: The data of Javanese literary works, which are obtained from fossilized wangsalan and puns found in songs and sayings, are analyzed in terms of the existing repetitions.
Results: Hidden rhyme and dirty joke in Javanese pun lead results that Javanese literature like literature in common employs repetition or parallelism to produce good memory of the words.
Implications: Repetition is the heart of language art. Whether a whole or a part, different linguistic units repeat their beats to create good feats. Poets make use of repetition to cling words’ images in our mind. Livingstones (1991) says: ‘A good rhyme, a repetition of sound, pleases us. It gives a certain order to our thoughts and settles in the ear pleasantly.’ As a universal phenomenon, rhyme exists in all literary languages including in Javanese literary texts and oral tradition.
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Nicastro, Humberto, Nelo Eidy Zanchi, Claudia Ribeiro da Luz, Daniela Fojo Seixas Chaves, and Antonio Herbert Lancha. "An Experimental Model for Resistance Exercise in Rodents." Journal of Biomedicine and Biotechnology 2012 (2012): 1–7. http://dx.doi.org/10.1155/2012/457065.
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This study aimed to develop an equipment and system of resistance exercise (RE), based on squat-type exercise for rodents, with control of training variables. We developed an operant conditioning system composed of sound, light and feeding devices that allowed optimized RE performance by the animal. With this system, it is not necessary to impose fasting or electric shock for the animal to perform the task proposed (muscle contraction). Furthermore, it is possible to perform muscle function testsin vivowithin the context of the exercise proposed and control variables such as intensity, volume (sets and repetitions), and exercise session length, rest interval between sets and repetitions, and concentric strength. Based on the experiments conducted, we demonstrated that the model proposed is able to perform more specific control of other RE variables, especially rest interval between sets and repetitions, and encourages the animal to exercise through short-term energy restriction and “disturbing” stimulus that do not promote alterations in body weight. Therefore, despite experimental limitations, we believe that this RE apparatus is closer to the physiological context observed in humans.
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Grigorieva, Elena N., and Veniamin T. Zolotukhin. "Pushkin’s “Winter Evening” in the genre context of the era." Vestnik of Saint Petersburg University. Language and Literature 21, no. 2 (2024): 332–43. http://dx.doi.org/10.21638/spbu09.2024.204.
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The analysis of a textbook Pushkin poem is aimed primarily at identifying how the lower levels of its structure are organized. Phonetic repetitions and rhythmic patterns simultane ously reproduce the monotony and chaotic unpredictability of the winter cataclysm: the first verse, thanks to its instrumentation, not only names, but recreates the sounds of the storm; alliteration forms a spiral movement built on return and shift — like the moving tornadoes of a snow blizzard. The meaning of words is projected onto the general musicality of their sound structure and forces the reader to correlate phonetic repetitions and imagery of the text. The identified rhythmic form, imitating the tonic verse of a folk song, makes it possible to clarify the genre orientation of the first half of the text: it is the folk song at the level of rhythm and figurative structure that declares itself from the first verses. The “voices” of a ballad, a folk song, a friendly epistle, an elegy, a “Bacchic song” are co-present in the poem as a whole, not only as its sources, but as equal participants in the formation of meaning. This chorus of genre voices, the diversity of rhythmic and sound organization, the unexpected intonation of recognizable motifs, the diversity of names of the addressee, the variability of the compositional division of the text give rise to such semantic inexhaustibility that excludes an unambiguous “minor” or “major” reading of the poem. A paradoxical effect arises — the “madeness” of the text, proven by the analysis, not only does not refute, but provokes an inescapable “biographical” reading of it: techniques and genre traditions “extinguish” each other, challenging the literary quality of “Winter Evening”. The pragmatics of the poem is aimed at ensuring that the reader sees in the lyrical hero an exiled poet, whiling away the evening alone with the nanny, consoled by her songs.
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Mar'i Akbar, Firzan, Robert Napitupulu, and Eko Yudo. "Karakteristik Serat Tandan Kosong Kelapa Sawit Sebagai Komposit Resin Polyester Untuk Mengetahui Nilai Absorpsi Suara." Jurnal Inovasi Teknologi Terapan 1, no. 2 (August 25, 2023): 367–73. http://dx.doi.org/10.33504/jitt.v1i2.43.
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The development of composite materials currently not only with synthetic reinforcing materials but also with natural fiber reinforcing materials, because natural fibers have diverse characteristics. In this research, looking at the characteristics of Oil Palm Empety Fruit Bunch (OPEFB) fiber which has a high cellulose and hemicellulose content, which is generally used for soundproofing materials. So a composite research will be made from the main material of OPEFB fiber with polyester resin as the matrix. The purpose of this research is to determine the sound absorption value of the composition of the mixture of OPEFB fiber and resin. The method used is the hand lay-up method combined with the Taguchi Method on the L4(23) orthogonal matrix design used as a reference for the sound absorbing composite manufacturing process. The L4(23) orthogonal matrix design is used because there are three process parameters that have two levels. Repetition is repeated three times. The process parameters are the volume fraction of OPEFB fiber and resin, the length of fiber soaking with NaOH, and the thickness of the composite. The research results from three repetitions obtained the highest value in sample I with a mean value = 77.93 dB at a frequency of 2000 Hz, and the lowest value in sample III with a mean value = 32.97 dB at a frequency of 125 Hz.
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Иглицкая, А. К., and М. М. Иглицкий. "Fausto Romitelli: Harmony of Altered Mind." Научный вестник Московской консерватории, no. 4(43) (December 24, 2020): 30–41. http://dx.doi.org/10.26176/mosconsv.2020.43.4.003.
Full textAbstract:
Музыкальный язык Фаусто Ромителли представляет собой характерное и легко узнаваемое сочетание принципов спектральной школы (с ее вниманием к музыкальному звуку, его краске и внутренней структуре) и психоделического рока 1960–70-х годов. Языку Ромителли не чуждо и ощущение тонального центра, осмысленного, однако, в новых темброгармонических условиях. Сочинение Professor Bad Trip (1998–2000) состоит из трех «уроков» (lessons), вдохновленных текстами Уильяма Берроуза и Анри Мишо. На примере этого сочинения в статье рассматриваются особенности гармонической техники Ромителли и предлагаются адекватные им методы анализа. Ключевым моментом гармонической техники Ромителли оказывается пересечение спектрально воссозданных «электрических» звучаний и эффектов и более привычных приемов композиторской работы со звуковысотностью. Главенствующую роль в организации играет материализованный, почти что осязаемый звук, воплощающий характерное для автора ощущение искаженного, неестественного, синтетического. Гипнотическое, ритуализованное повторение с постепенной деформацией создает узнаваемое авторское звучание всей музыки Ромителли. The musical language of Fausto Romitelli is a characteristic and easily recognizable combination of the principles of the spectral school with its attention to the musical sound, its color and internal structure with the sound of psychedelic rock of the 1960s and 1970s. He was no stranger to the feeling of tonal center, however, in new sound conditions. Professor Bad Trip (1998–2000) consists of three “lessons” inspired by texts by William Burroughs and Henri Michaux. Using this work as an example, the article examines the harmonic problems of Romitelli’s music and suggests relevant methods of analysis. The key point of harmonic technique is the combination of spectrally reconstructed “electric” sounds and more traditional techniques of pitched composition. The main role in the organization is played by materialized, almost tangible sound, which embodies the feeling of distorted, unnatural, synthetic. Hypnotic, ritualized repetitions with gradual deformation creates a recognizable author’s sound of Romitelli’s music.
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Dern, John A. "“I knew the sound well”." Edgar Allan Poe Review 22, no. 2 (November 1, 2021): 312–28. http://dx.doi.org/10.5325/edgallpoerev.22.2.0312.
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Abstract Like the Saxon king Alfred the Great, the narrator of “The Tell-Tale Heart” hears “with both his ears.” However, whereas Alfred's chronicler, Bishop Asser, describes Alfred's talent for listening as a complement to the king's eager rationality, the narrator of “The Tell-Tale Heart,” who also hears “with both his ears,” is eager but not rational. He characterizes his acute hearing as a happy byproduct of an unnamed “disease,” arguing that it validates his claim of sanity, but his hearing is actually a vehicle for Poe's irony. While drawing on prior criticism, this article stresses how Poe's artistic control throughout the tale undermines the narrator's pretense of self-control. Thus, where the narrator calmly claims that mysterious vibrations from an old man's “Evil Eye” drove him to murder, Poe ironically emphasizes that sound is the character's undoing, ultimately producing a kind of aural nausea that the narrator re-experiences in the present as he tells an unidentified auditor how he murdered the old man. This nausea is what caused him to spew forth his confession of murder for the police originally and what causes him to do so again in the telling of events for his auditor. Poe particularly displays his artistic control with repetitions, rhetorically mocking the narrator's claim that heightened hearing demonstrates his sanity through the text's insistently repeated versions of the word “ear,” but he also displays his control through the rhetorical device of deixis, which derides the storyteller's inability to separate the narratorial past from the narratorial present.
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Jordi, O., A. Farina, and S. Mañosa. "Sound amplitude (dB) of male Western Capercaillie Tetrao urogallus." Revista Catalana d'Ornitologia, no. 39 (February 8, 2024): 60–64. http://dx.doi.org/10.62102/2340-3764.2023.1.8.
Full textAbstract:
Knowledge of the true amplitude (dB) of sound signals is necessary for calculating how far they can travel and the distance at which they can be detected, two crucial aspects for planning bio-acoustic sampling protocols, particularly if endangered species such as the Western Capercaillie are involved. In order to be able to measure the true emission amplitude of male Western Capercaillie Tetrao urogallus calls, we recorded 90 repetitions of the call of a single male using a calibrated microphone located 1 m away from the bird. In this way, we were able to determine for the first time the true amplitude of a calling male Western Capercaillie in the Alt Pyrenees Natural Park, which turned out to be 67.68 ± 0.83 dB. Considering the characteristics of our microphone, this gives an average maximum detection distance of 174.8 m, important information for optimising future bio-acoustic detection and monitoring studies.
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Senchuk, Iryna. "Musical Code of Samuel Beckett’s Novel “Murphy”." Слово і Час, no. 11 (November 15, 2019): 50–62. http://dx.doi.org/10.33608/0236-1477.2019.11.50-61.
Full textAbstract:
The paper explores the ways in which music manifests itself on lexical-semantic, structural and rhythmic-syntactic levels of the novel “Murphy” (1938) by Samuel Beckett, whose Anglo- and Francophone writing is an attempt to synthesize prose and music. Beckett’s aesthetic ideas, his understanding of the expressivity of word and music were considerably influenced by Wittgenstein’s philosophy of linguistic skepticism and Schopenhauer’s vision of music as the only way of expressing the essence of the world.
In his work, not only does Beckett combine the two forms of art through allusions and references, phonetic sound imitation or modeling of particular musical forms, but also makes an attempt to use the imagery of music and its ability to directly express feelings and thoughts, focusing on ‘semantic possibilities’ of music as a metaphor. Being sensitive to the sounding qualities of phrases in his works, Beckett perceived any sounds, even human ones, as music. He saturates the novel “Murphy” with auditory memories, rising and falling sounds, rhythms, melodies and musical categories, which enhance its musical effect. The diversity of musicality in Beckettian text is also manifested in the rhythmic organization, the presence of leitmotifs, and extensive use of verbal and structural repetitions.
Therefore, Beckett’s method in “Murphy” involves using devices of musical expressiveness, as well as transforming the musical categories into metaphors of different experiences. Simultaneously, the rhythm of repetitions makes the emotional tonality of the work more distinct and creates the effect of intense movement of the consciousness.
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Middlebrooks, John C., Li Xu, Ann Clock Eddins, and David M. Green. "Codes for Sound-Source Location in Nontonotopic Auditory Cortex." Journal of Neurophysiology 80, no. 2 (August 1, 1998): 863–81. http://dx.doi.org/10.1152/jn.1998.80.2.863.
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Middlebrooks, John C., Li Xu, Ann Clock Eddins, and David M. Green. Codes for sound-source location in nontonopic auditor cortex. J. Neurophysiol. 80: 863–881, 1998. We evaluated two hypothetical codes for sound-source location in the auditory cortex. The topographical code assumed that single neurons are selective for particular locations and that sound-source locations are coded by the cortical location of small populations of maximally activated neurons. The distributed code assumed that the responses of individual neurons can carry information about locations throughout 360° of azimuth and that accurate sound localization derives from information that is distributed across large populations of such panoramic neurons. We recorded from single units in the anterior ectosylvian sulcus area (area AES) and in area A2 of α-chloralose–anesthetized cats. Results obtained in the two areas were essentially equivalent. Noise bursts were presented from loudspeakers spaced in 20° intervals of azimuth throughout 360° of the horizontal plane. Spike counts of the majority of units were modulated >50% by changes in sound-source azimuth. Nevertheless, sound-source locations that produced greater than half-maximal spike counts often spanned >180° of azimuth. The spatial selectivity of units tended to broaden and, often, to shift in azimuth as sound pressure levels (SPLs) were increased to a moderate level. We sometimes saw systematic changes in spatial tuning along segments of electrode tracks as long as 1.5 mm but such progressions were not evident at higher sound levels. Moderate-level sounds presented anywhere in the contralateral hemifield produced greater than half-maximal activation of nearly all units. These results are not consistent with the hypothesis of a topographic code. We used an artificial-neural–network algorithm to recognize spike patterns and, thereby, infer the locations of sound sources. Network input consisted of spike density functions formed by averages of responses to eight stimulus repetitions. Information carried in the responses of single units permitted reasonable estimates of sound-source locations throughout 360° of azimuth. The most accurate units exhibited median errors in localization of <25°, meaning that the network output fell within 25° of the correct location on half of the trials. Spike patterns tended to vary with stimulus SPL, but level-invariant features of patterns permitted estimates of locations of sound sources that varied through 20-dB ranges. Sound localization based on spike patterns that preserved details of spike timing consistently was more accurate than localization based on spike counts alone. These results support the hypothesis that sound-source locations are represented by a distributed code and that individual neurons are, in effect, panoramic localizers.
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مِصطفى, إِدريس سِليمان. "The vocal suggestion of the contexts of the verses of prostration in the Holy Qur’an." JOURNAL OF LANGUAGE STUDIES 6, no. 3, 1 (April 1, 2023): 243–54. http://dx.doi.org/10.25130/jls.6.3.1.18.
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The linguistic sound, the smallest unit from which the verbal chain is formed, has a space that cannot be ignored, how is that when it is the basic building block in the rest of the linguistic levels? Morphology, structure, and rhetoric, and just as the above three levels have connotations through which one can reach the realization of the nature of the text, the sounds of linguistic contexts have an impact and suggestions in depicting meanings that cannot be overlooked, and they are sought through the repetitions of sounds and their groupings in the same context and in the association of phonetic qualities with each other, as well as The syllables that make up those contexts, and no appeal to the singular phoneme; Because it cannot be judged by it alone. The research was based on seeking the sound allusions to the contexts of the verses of prostration from two sides; An aspect related to a number of the qualities of sounds that have a role in giving the characteristic of strength or weakness to the vocal context in which they occur, and the qualities are: loud, whispering, intensity, softness and moderation, and that is in the general proportion of their occurrence in the aforementioned verses on the one hand, and the focus of these verses represented by the text of prostration in them from On the other hand, this is in addition to stopping at a number of vocal characteristics that formed a phenomenon that attracted the ears.
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Obruchnykova, Olena. "ON ANTECEDENTS OF PARONYMY IN ANTONIO MACHADO’S LYRICS." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS 31 (2017): 65–80. http://dx.doi.org/10.17721/2663-6530.2017.31.06.
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The article investigates the peculiarities of the poetic language of the Spanish poet Antonio Machado considering the phenomenon of paronymy (paronymic attraction) – a special kind of phonetic repetition, in which the sound resemblance of two or more unrelated word forms induce a semantic link between them. Poetry of A. Machado is characterized by a variety of both lexical and phonetic repetitions. Although pairs of word forms, which by their phonetic structure, could be defined as the examples of paronymic attraction, are common for the poet’s lyric, the system is rather potential than fully realized. For the "real" paronymy of the poetic system, A. Machado lacks the phonetic contrast of the attractants with the closest context and semantic contrast of the given semantic connection between the attractants with the usual vocabulary connection. A further study of paronymic attraction may be aimed at identifying the dominant types of paronymy in the poetry of A. Machado in terms of structural classification, as well as the study of paronymy as a stylistic tool in the rhyme in the poet's work.
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Yaruss, J. Scott, and Edward G. Conture. "F2 Transitions During Sound/Syllable Repetitions of Children Who Stutter and Predictions of Stuttering Chronicity." Journal of Speech, Language, and Hearing Research 36, no. 5 (October 1993): 883–96. http://dx.doi.org/10.1044/jshr.3605.883.
Full textAbstract:
The purpose of the present study was to examine the relationships between second formant (F2) transitions during the sound/syllable repetitions (SSRs) of young children who stutter and their predicted chronicity of stuttering. Subjects were 13 youngsters who stutter, who were divided into two groups based on their predicted chronicity of stuttering as measured by the Stuttering Prediction Instrument (SPI; Riley, 1984): a high-risk group, consisting of 7 boys. (mean age=50.6 months), and a low-risk group, consisting of 5 boys and 1 girl (mean age=48.5 months). Each child was audio/videotape-recorded during a 30-minute conversational interaction with his or her mother. Ten SSRs per child were acoustically analyzed to identify differences in F2 transitions between the repeated (stuttered) and fluent (nonstuttered) portions of the words. Present findings are consistent with those of Stromsta (1965, 1986), who reported that children who stutter produce F2 transitions during stuttering that are nonmeasurable or missing or that differ in direction of movement from fluent transitions. However, there were no significant between-group differences in the frequency of occurrence of these "abnormal" F2 transitions, findings that are apparently inconsistent with Stromsta’s results. The remaining measurable F2 transitions showed no significant between-group differences in the mean differences between stuttered and fluent F2 transitions for onset and offset frequencies, transition extents, and transition rates. Within both groups, significant positive correlations were found between stuttered and fluent F2 transitions for all acoustic measures except for transition durations, which were not significantly correlated for either high-risk or low-risk subjects. Within the low-risk group, stuttered F2 transitions were typically shorter than fluent transitions. Findings were taken to suggest that some elements of sound or segment prolongation may be present within the SSRs of children who stutter and who are considered to be at high risk for continuing to stutter, indicating that further study of selected aspects of F2 transitions during stuttering may provide useful clinical information for predicting the likelihood that a child will continue to stutter.
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Al-Ghazali, Abeer. "Features of Disfluent speech by EFL Learners at Taiz University." ELS Journal on Interdisciplinary Studies in Humanities 2, no. 3 (September 30, 2019): 398–409. http://dx.doi.org/10.34050/els-jish.v2i3.7520.
Full textAbstract:
This paper aims at investigating the features of disfluent speech by EFL learners at Taiz University. Disfluent speech features usually lead to listeners’ negative impressions on the EFL learners’ speech. This paper focuses on repair fluency aspects as fillers, repetitions, restarts and reformulations. Analysing those features contributes to the understanding of the ongoing learner’s needs that should be put into concentration during teaching. The data was collected from 20 level four students of English Language major, Faculty of Education, Taiz University. The participants were asked to narrate the events of a short silent video. The quantitative analysis showed that the participants overused disfluencies such as fillers, prolongations, repetitions, restarts and self-corrections. The mostly present self corrected item was the pronouns. This paper recommends that in order for the EFL learners to make their speech sound more fluent and more natural, they should be firstly introduced to the notion of disfluent speech features, and then they should be trained using some activities that focus on fostering fluency.
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Filipowcz, Piotr, and Bozena Kostek. "Applying machine learning algorithms for stuttering detection." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A371. http://dx.doi.org/10.1121/10.0019207.
Full textAbstract:
This work aims to develop algorithms designed to detect stuttering in speech signals effectively. The background of this speech disorder is given with particular attention paid to its subcategories, i.e., extensions, blocks, sound repetitions, word repetitions, and interjections. A review of state-of-the-art machine learning-based approaches to detect and classify stuttering is presented. A deep model capable of detecting stuttering in the speech signal at the f1 measure level of 0.93 for the general class is built. Also, two baseline algorithms, i.e., Support vector machine (SVM) and k-nearest neighbors (kNN), are implemented to compare their efficiency with a residual neural network outcome. In addition, a series of experiments are conducted to study the impact of elements such as model architecture, data partitioning, amount of data, or use of individual features. The results obtained for the different categories of stuttering differ significantly due to the size of each subclass in the datasets used for the study and the annotation quality.
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Usova, Nina V. "Names and counterpoints of M.Yu. Lermontov’s poem “The Demon”." Russian Language Studies 18, no. 2 (December 15, 2020): 181–94. http://dx.doi.org/10.22363/2618-8163-2020-18-2-181-194.
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The paper deals with poetonymological study of the text of M.Yu. Lermontovs poem Demon. The poem is for the first time investigated in terms of onomastics. The features of the poem and the ways of their interaction with the poetic context are considered. The focus is on the lexical-semantic and phonetic aspects of key myth- and anthropoetonyms. The identified poetonyms go back to proper names of different categories and represent mythopoetonyms, anthropoetonyms, cosmopoetonyms, topopoetonyms (including hydropoetonyms, poetonymschoronyms, poetonyms-oronyms). The counterpoint combination of the main melodic lines produces the effect of simultaneous sounding which is created to a large extent by skillful inserting poetonyms in the composition, system of images and artistic means of the poem as a whole. The determined oppositions form a network of counterpoint relations, important in terms of meaning. As for sound phenomena, the poem reveals an increase in the frequency of the sound letters of the poetonyms in their environment, as well as the phenomenon of irradiation, sound repetitions, assonances and alliterations, rhyme and anaphoric extension of the poetonyms, emphasis.
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Werner, Christian. "O som ao redor." Classica - Revista Brasileira de Estudos Clássicos 37 (September 5, 2024): 1–22. http://dx.doi.org/10.24277/classica.v37.2024.1088.
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In this article, we demonstrate (1) the textual density and cohesion of the opening of the Iliad (Il. 1.1-42); (2) the emphatic, albeit implicit, comparison of Achilles’ anger to Apollo’s in this passage; and (3) the subliminal ways of communicating Apollo’s power in verses 8 to 42, that is, before his epiphany itself through the plague that strikes the Achaeans. In order to do this, we will focus on sound repetitions and examine the metrical architecture to see how these poetic phenomena reiterate or supplement the surface meaning of the poetic text.
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Karakaҫi, Dalila. "Discourse analysis in Ulysses and The Sound and the Fury." Academic Journal of Business, Administration, Law and Social Sciences 10, no. 1 (March 1, 2024): 51–65. http://dx.doi.org/10.2478/ajbals-2024-0006.
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Abstract The literary style of modernist authors like James Joyce (1882-1941) and William Faulkner (1897-1962) is deeply experimental. Their complexity is intertwined with the desire to retell local, national stories as seen through the eyes of losers from which small literary cosmoses are the desires result to re-adapt domestic spaces. This research does not leave a path for the use of language as a transparent means of expression, but at the same time makes it impossible to express fiction through more linear and elaborative methods, leaving the direct elaboration subordinate, shown from the viewpoint of the marginalized, the oppressed. Their speaking variety is conveyed through repetitions, fixations, alienations, and disturbing endings. The two authors create neologisms that signal dissatisfaction with the limitations of conventional language. Joyce includes Hiberno-English in Ulysses (1920) as a means of cacophonous addition to the voices and styles, just as Faulkner includes the African American speech of the American South. They operate on the differences of their traditions. Joyce attacks the use of syntax, being more interested in the order of words within the sentence, the same concern with syntactic structure that we also see in Faulkner.
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Harmon, Tyson G., Adam Jacks, and Katarina L. Haley. "Speech Fluency in Acquired Apraxia of Speech During Narrative Discourse: Group Comparisons and Dual-Task Effects." American Journal of Speech-Language Pathology 28, no. 2S (July 15, 2019): 905–14. http://dx.doi.org/10.1044/2018_ajslp-msc18-18-0107.
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Purpose Slowed speech and interruptions to the flow of connected speech are common in aphasia. These features are also observed during dual-task performance for neurotypical adults. The purposes of this study were to determine (a) whether indices of fluency related to cognitive–linguistic versus motor processing would differ between speakers with aphasia plus apraxia of speech (AOS) and speakers with aphasia only and (b) whether cognitive load reduces fluency in speakers with aphasia with and without AOS. Method Fourteen speakers with aphasia (7 with AOS) and 7 neurotypical controls retold short stories alone (single task) and while simultaneously distinguishing between a high and a low tone (dual task). Their narrative samples were analyzed for speech fluency according to sample duration, speech rate, pause/fill time, and repetitions per syllable. Results As expected, both speaker groups with aphasia spoke slower and with more pauses than the neurotypical controls. The speakers with AOS produced more repetitions and longer samples than controls, but they did not differ on these measures from the speakers with aphasia without AOS. Relative to the single-task condition, the dual-task condition increased the duration of pauses and fillers for all groups but reduced speaking rate only for the control group. Sample duration and frequency of repetitions did not change in response to cognitive load. Conclusions Speech output in aphasia becomes less fluent when speakers have to engage in simultaneous tasks, as is typical in everyday conversation. Although AOS may lead to more sound and syllable repetitions than normal, speaking tasks other than narrative discourse might better capture this specific type of disfluency. Future research is needed to confirm and expand these preliminary findings. Supplemental Material https://doi.org/10.23641/asha.8847845
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Bettini, Maurizio. "Authority as ‘Resultant Voice’: Towards a Stylistic and Musical Anthropology of Effective Speech in Archaic Rome." Greek and Roman Musical Studies 1, no. 1 (2013): 175–94. http://dx.doi.org/10.1163/22129758-12341242.
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Abstract Analysis of a large number of texts from the archaic period of Roman culture shows that the authoritative character of a solemn utterance (a prophecy, the formula uttered by a praetor, a religious praefatio) was based principally on specific sound patterns. From these utterances’ use of parallelisms, phonic echoes and syllabic repetitions there emerged a sort of ‘resultant voice’, which made their exceptional character immediately apparent. From the perspective of their intended hearers, the sound-construction of these pronouncements had the capacity to arouse what the Romans called delectatio: that is, the disposition to believe in the truth and validity of what they were hearing. That the Romans included all these acoustic phenomena within a single perceptual domain is demonstrated by the fact that music, too, had the power to produce delectatio—and by the fact that the verb cano and its derivatives refer as much to musical as to poetic expression.
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Rashid, Usman, David Barbado, Sharon Olsen, Gemma Alder, Jose L. L. Elvira, Sue Lord, Imran Khan Niazi, and Denise Taylor. "Validity and Reliability of a Smartphone App for Gait and Balance Assessment." Sensors 22, no. 1 (December 25, 2021): 124. http://dx.doi.org/10.3390/s22010124.
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Advances in technology provide an opportunity to enhance the accuracy of gait and balance assessment, improving the diagnosis and rehabilitation processes for people with acute or chronic health conditions. This study investigated the validity and reliability of a smartphone-based application to measure postural stability and spatiotemporal aspects of gait during four static balance and two gait tasks. Thirty healthy participants (aged 20–69 years) performed the following tasks: (1) standing on a firm surface with eyes opened, (2) standing on a firm surface with eyes closed, (3) standing on a compliant surface with eyes open, (4) standing on a compliant surface with eyes closed, (5) walking in a straight line, and (6) walking in a straight line while turning their head from side to side. During these tasks, the app quantified the participants’ postural stability and spatiotemporal gait parameters. The concurrent validity of the smartphone app with respect to a 3D motion capture system was evaluated using partial Pearson’s correlations (rp) and limits of the agreement (LoA%). The within-session test–retest reliability over three repeated measures was assessed with the intraclass correlation coefficient (ICC) and the standard error of measurement (SEM). One-way repeated measures analyses of variance (ANOVAs) were used to evaluate responsiveness to differences across tasks and repetitions. Periodicity index, step length, step time, and walking speed during the gait tasks and postural stability outcomes during the static tasks showed moderate-to-excellent validity (0.55 ≤ rp ≤ 0.98; 3% ≤ LoA% ≤ 12%) and reliability scores (0.52 ≤ ICC ≤ 0.92; 1% ≤ SEM% ≤ 6%) when the repetition effect was removed. Conversely, step variability and asymmetry parameters during both gait tasks generally showed poor validity and reliability except step length asymmetry, which showed moderate reliability (0.53 ≤ ICC ≤ 0.62) in both tasks when the repetition effect was removed. Postural stability and spatiotemporal gait parameters were found responsive (p < 0.05) to differences across tasks and test repetitions. Along with sound clinical judgement, the app can potentially be used in clinical practice to detect gait and balance impairments and track the effectiveness of rehabilitation programs. Further evaluation and refinement of the app in people with significant gait and balance deficits is needed.
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Gargaillo, Florian. "Kamau Brathwaite’s Rhythms of Migration." Journal of Commonwealth Literature 53, no. 1 (June 16, 2016): 155–68. http://dx.doi.org/10.1177/0021989416650482.
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This article considers Kamau Brathwaite’s formal articulation of the migrant experience in Rights of Passage (1967). More specifically, it demonstrates how Brathwaite uses patterns of repeated sound — and the way those repetitions work in conjunction with, run counter to, or enter into a complicated relationship with, the metre of a line and stanza — to explore the role of migration in the Caribbean. This rhythmic principle closely mirrors his theory of Caribbean history as “tidalectic” rather than “dialectic”, cyclical rather than linear. Thus the rhythmic shifts described in this essay enact, and give poetic shape to, a historical reality specific to the poet’s native region.
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Klaerner, Matthias. "Vibro-acoustic optimisation of composites with multiple parameters." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 267, no. 1 (November 5, 2023): 200–203. http://dx.doi.org/10.3397/no_2023_0034.
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Composites, light and stiff, are sensitive to propagate structure borne sound but simultaneously offer a wide range of adjusting the material behaviour. Thereby, stiffness and damping are contradictory material properties related to the fibre orientation. Commonly, the composite design is based on FEA simulations requiring special modelling efforts. In contrast, the multi-dimensional optimisation of a laminate with numerous layers requires very fast numerical solutions for numerous repetitions. Using a complex but efficient vibro-acoustic simulation model is essential in optimising composites. Therefore, the FEA is extended by a strain energy based modal damping approach for the layerwise accumulation of the anisotropic damping. In addition, the radiated sound power is determined by a velocity-based approach directly on steady state structural simulations avoiding a complex multi-physical modelling. Moreover, the frequency dependent radiation is consolidated to a single scalar optimisation objective with analytical formulations of amplification factors of the modal power contributions. This methodology is applied to design a vibro-acoustically optimised composite part. The achieved results emerge the NVH potential of thermoplastic composites compared to a steel reference case.