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Journal articles on the topic 'Voice passages'
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1
Hughes, James R. "Generalizing the Orbifold Model for Voice Leading." Mathematics 10, no. 6 (March 15, 2022): 939. http://dx.doi.org/10.3390/math10060939.
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We generalize orbifold models for chords and voice leading to incorporate loudness, allowing for the modeling of resting voices, which are used frequently by composers and arrangers across genres. In our generalized setting (strictly speaking, that of orbispaces rather than an orbifolds), passages with resting voices, passages with two or more voices in unison, and fully harmonized passages occupy distinct subspaces that interact in mathematically precise and musically interesting ways. In particular, our setting includes previous orbifold models by way of constant-loudness subspaces, and provides a way to model voice leading between chords of different cardinalities. We model voice leading in this general setting by morphisms in the orbispace path groupoid, a category for which we give a formal definition. We demonstrate how to visualize such morphisms as singular braids, and explore how our approach relates to (and is consistent with) selected previous work.
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Chan, Eugene Y., and Sam J. Maglio. "The Voice of Cognition: Active and Passive Voice Influence Distance and Construal." Personality and Social Psychology Bulletin 46, no. 4 (August 8, 2019): 547–58. http://dx.doi.org/10.1177/0146167219867784.
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English passages can be in either the active or passive voice. Relative to the active voice, the passive voice provides a sense of objectivity regarding the events being described. This leads to our hypothesis that passages in the passive voice can increase readers’ psychological distance from the content of the passage, triggering an abstract construal. In five studies with American, Australian, British, and Canadian participants, we find evidence for our propositions, with both paragraphs and sentences in the passive voice increasing readers’ felt temporal, hypothetical, and spatial distance from activities described in the text, which increases their abstraction in a manner that generalizes to unrelated tasks. As such, prose colors how people process information, with the active and passive voice influencing the reader in ways beyond what is stated in the written word.
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Iwamitsu, Yumi, Mitsuko Ando, Ikumi Honda, Akie Hashi, Sachiko Tsutsui, and Naoto Yamada. "Nurses' Comprehension and Recall Process of a Patient's Message with Double-Bind Information." Psychological Reports 88, no. 3_suppl (June 2001): 1135–41. http://dx.doi.org/10.2466/pr0.2001.88.3c.1135.
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We examined nurses' comprehension and recall process of patients' passage with double-bind information. We focused on two modes of communication, tone of voice and content of speech. The experiment followed a 2 × 2 × 2 design with respect to listeners (nurse vs student), tone of voice (positive vs negative), and verbal content (positive vs negative). Subjects were 79 nurses who worked at the university hospital and 99 students who were studying at the Faculty of Nursing. Nurses and students were randomly divided into four subgroups; each was presented one of four professionally tape-recorded scripts representing one possible combination of tone of voice and verbal content on the part of a fictitious patient. Listeners then rated the passages on scales and were asked to recall the passages in detail. Listeners recalled and understood passages better when the modes of communication did not conflict. Accuracy in recall reflected comprehension of passages rather than the listener's feelings about the “patient,” especially in double-bind situations. Listeners tended to judge the speaker's feelings by tone of voice rather than verbal content.
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Henderson, Cecelia A., and Yingchen He. "Screen Reader Voices: Effects of Pauses and Voice Changes on Comprehension." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 66, no. 1 (September 2022): 1839–43. http://dx.doi.org/10.1177/1071181322661291.
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This study seeks to investigate the effects of manipulating aspects of a text-to-speech (TTS) voice on the learning and comprehension of a short passage, as well as detection of aspects of the passage such as its organization and key information. Pauses and pitch changes were used to demarcate this type of information. Participants listened to the passages and answered a series of cued and uncued recall questions to measure comprehension and learning, followed by a task to identify header structure. Preliminary results show trends that adding pauses might be beneficial, but more participants are needed to provide conclusive evidence. This study will contribute to the body of research surrounding technology adoption, assistive technology, and how to improve AI voices for the purposes of learning, as well as our understanding of how we process auditory information.
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Khan, Anam Ahmad, Joshua Newn, Ryan M. Kelly, Namrata Srivastava, James Bailey, and Eduardo Velloso. "GAVIN." ACM Transactions on Computer-Human Interaction 28, no. 4 (October 31, 2021): 1–32. http://dx.doi.org/10.1145/3453988.
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Annotation is an effective reading strategy people often undertake while interacting with digital text. It involves highlighting pieces of text and making notes about them. Annotating while reading in a desktop environment is considered trivial but, in a mobile setting where people read while hand-holding devices, the task of highlighting and typing notes on a mobile display is challenging. In this article, we introduce GAVIN, a gaze-assisted voice note-taking application, which enables readers to seamlessly take voice notes on digital documents by implicitly anchoring them to text passages. We first conducted a contextual enquiry focusing on participants’ note-taking practices on digital documents. Using these findings, we propose a method which leverages eye-tracking and machine learning techniques to annotate voice notes with reference text passages. To evaluate our approach, we recruited 32 participants performing voice note-taking. Following, we trained a classifier on the data collected to predict text passage where participants made voice notes. Lastly, we employed the classifier to built GAVIN and conducted a user study to demonstrate the feasibility of the system. This research demonstrates the feasibility of using gaze as a resource for implicit anchoring of voice notes, enabling the design of systems that allow users to record voice notes with minimal effort and high accuracy.
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Zayaruznaya, Anna. "‘SHE HAS A WHEEL THAT TURNS …’: CROSSED AND CONTRADICTORY VOICES IN MACHAUT'S MOTETS." Early Music History 28 (August 24, 2009): 185–240. http://dx.doi.org/10.1017/s0261127909000370.
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The tiered structure of Machaut's motets is often taken for granted: the tenor is the lowest voice, the motetus is in the middle, and the triplum is highest. While this is mostly true of Machaut's work and of Ars nova motets more generally, there are a number of significant exceptions – passages in which the upper voices switch roles and the motetus sings at the top of the texture. The most striking of these are consistently linked with the goddess Fortuna. In Motets 12, 14 and 15, moments of voice-crossing serve to illustrate the actions of the goddess, who traditionally raises the low and lowers the high. While they are certainly symbolic, these instances of voice-crossing are also audible: since the voices retain their distinct rhythmic and textual profiles even while their relative ranges are reversed, voice-crossings allow the listener to hear a musical world turned on its head.
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Mansfeld, Jaap. "'Illuminating What is Thought'. A Middle Platonist Placitum On 'voice' in Context." Mnemosyne 58, no. 3 (2005): 358–407. http://dx.doi.org/10.1163/1568525054796818.
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AbstractThe Plato κɛπαλαιον in Aëtius' chapter On Voice is the result of the interpretation, modernization, and systematization of brief passages dealing with hearing, voice and speech to be found in several dialogues. This construction of Plato's doctrine of 'voice' was mainly inspired by the systematic and innovative Stoic τóπος On Voice. The 'physical' definition is based on passages in Theaetetus and other works, the 'physiological' on a passage in Timaeus. The distinction and relation between voiceless internal λóγος (or thought) and spoken λóγος in Theaetetus and Sophist was interpreted as being equivalent to that between internal and uttered ϕωνη-cum-λóγος which played an important part in the Stoic view of the relation between thinking and speaking. Because as a rule Plato uses ϕωνη of the human voice, the rigorous distinction between this voice and that of animals and lifeless things postulated by Diogenes of Seleucia and other Stoics could be attributed to him, and his unsystematic usage justified by claiming that he used ϕωνη both in the proper and in a loose (or improper) sense. Approaches such as these are characteristic of Middle Platonism. In the present case the neutralization of Theophrastus' criticism of Plato in the De sensibus played a significant part. Plato's statement that thought is mirrored in what is spoken was updated by replacing it with a (fanciful) etymology of ϕωνη which must be dated to at least the Hellenistic period (it was known to e.g. Philo of Alexandria and used by the grammarian Philoxenus). Surprisingly full parallels for virtually the entire contents of the Aëtian κεϕαλαıον are found in the Commentaria in Dionysium Thracem. The etymology of ϕωνη, and others like it, were quoted and used by grammarians and lexicographers from the later first century BCE up to late Byzantine times. The attempt to understand the doxographer's lemma on Plato on voice thus becomes a case-study demonstrating both the openness and the tenacity of philosophical interpretation in antiquity. But note that the present inquiry is not concerned with the Aristotelian or (partly) Aristotelianizing tradition according to which language is conventional.One of the side-effects of the present inquiry was the unsurprising realization (again) that 'parallel passages', once quoted and interpreted out of context, may sort of drift from one book or paper to the next, while their interpretation hardens into received truth. In the present case the so-called parallels in Plato for the later distinction between the internal and the spoken voice proved to be not so parallel after all.
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Duarte-Borquez, Claudia, Maxine Van Doren, and Marc Garellek. "Utterance-Final Voice Quality in American English and Mexican Spanish Bilinguals." Languages 9, no. 3 (February 21, 2024): 70. http://dx.doi.org/10.3390/languages9030070.
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We investigate utterance-final voice quality in bilinguals of English and Spanish, two languages which differ in the type of non-modal voice usually encountered at ends of utterances: American English often has phrase-final creak, whereas in Mexican Spanish, phrase-final voiced sounds are breathy or even devoiced. Twenty-one bilinguals from the San Diego-Tijuana border region were recorded (with electroglottography and audio) reading passages in English and Spanish. Ends of utterances were coded for their visual voice quality as “modal” (having no aspiration noise or voicing irregularity), “breathy” (having aspiration noise), “creaky” (having voicing irregularity), or “breathy-creaky” (having both aspiration noise and voicing irregularity). In utterance-final position, speakers showed more frequent use of both modal and creaky voice when speaking in English, and more frequent use of breathy and breathy-creaky voice when speaking in Spanish. We find no role of language dominance on the rates of these four voice qualities. The electroglottographic and acoustic analyses show that all voice qualities, even utterance-final creak, are produced with increased glottal spreading; the combination of distinct noise measures and amplitude of voicing can distinguish breathy, creaky, and breathy-creaky voice qualities from one another, and from modal voice.
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CHARLES-LUCE, JAN, KELLY M. DRESSLER, and ELVIRA RAGONESE. "Effects of semantic predictability on children's preservation of a phonemic voice contrast." Journal of Child Language 26, no. 3 (October 1999): 505–30. http://dx.doi.org/10.1017/s030500099900389x.
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We investigated the effects of semantic predictability on children's preservation of the /t/-/d/ phonemic voice contrast in American English. In Experiment 1, a total of 36 seven-, nine-, and twelve-year-olds produced minimal pairs differing in intervocalic /t/ and /d/ in semantically biasing and semantically neutral passages. The seven-year-olds preserved the phonemic contrast in both passage types. However, for the nine- and twelve-year-olds, total word duration and preceding vowel duration preserved the /t/-/d/ contrast, but this interacted with semantic predictability. The contrast was preserved in the biasing and not in the neutral passages. The production results from the older children replicated previous findings from adults, demonstrating that semantic predictability influences speech production at both a lexical and a segmental level. In Experiment 2, listeners identified the tokens produced in Experiment 1. The identification results suggested that differences produced by speakers may not necessarily have a functional role for listeners. An interactive activation framework is proposed to account for the semantic effects on older children's and adults' production. For the youngest children, however, we suggest that pragmatic compensation and task demands interact with the effects of interactive activation.
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Bradley, Catherine A. "Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family." Journal of Musicology 32, no. 2 (2015): 153–97. http://dx.doi.org/10.1525/jm.2015.32.2.153.
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This article examines a family of thirteenth-century discant and motets on the tenor LATUS, tracing complex relationships between the various incarnations of its shared musical material: passages of melismatic discant in two- and three-voices, a three-voice Latin conductus motet, a two-voice Latin and French motet, and a three-voice Latin double motet. I query conventional fundamentally linear models of discant-motet interaction, emphasizing the possibility of simultaneously filial and collateral interrelationships between versions: different motet texts can influence each other, while retaining independent connections with an earlier melismatic discant model. This leads to a reevaluation of traditional evolutionary and stylistic perceptions of sub-genres defined within the category of motet. The article addresses questions of compositional process, reflecting on the types of creative and scribal activities involved in the formulation of motets.
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Van Lierde, K. M., F. L. Wuyts, M. De Bodt, and P. Van Cauwenberge. "Nasometric Values for Normal Nasal Resonance in the Speech of Young Flemish Adults." Cleft Palate-Craniofacial Journal 38, no. 2 (March 2001): 112–18. http://dx.doi.org/10.1597/1545-1569_2001_038_0112_nvfnnr_2.0.co_2.
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Objective The purpose of this study was to obtain normative nasalance scores for adult subjects speaking the Flemish language. Additional objectives of the study were to determine if speaker sex played a role in differences in nasalance scores and if significantly different nasalance scores existed for Flemish compared with other languages or dialects. Design Nasalance scores were obtained while young Flemish adults read three standard nasalance passages. These passages were an oronasal passage (a text that contained the same approximate percentage of nasal consonants as found in the standard Dutch speech), an oral passage (a text that excluded nasal consonants), and a nasal passage (a reading text loaded with nasal consonants). Participants Subjects included 58 healthy young Flemish adults with normal oral and velopharyngeal structure and function, normal hearing levels, normal voice characteristics, and normal resonance and articulation skills. Methods The Nasometer (model 6200) was used to obtain nasalance scores for the three reading passages. These three reading passages were designed specifically for use with the nasometer. The nasalance data were analyzed for sex dependence, using Student's t test for each reading passage. This same test was used for comparison of our data with data of other languages. Results Normative nasalance data were obtained for the oronasal text (33.8%), the oral text (10.9%), and the nasal text (55.8%). Female speakers exhibited significantly higher nasalance scores than male speakers on the passages containing nasal consonants (normal text, p = .001; nasal text, p = .042). Furthermore, statistically significant cross-linguistic nasality differences were observed. The English and Spanish languages were found to have more nasalance than the Flemish language. For the North Dutch and Flemish languages, this cross-linguistic phenomenon was absent. Conclusion These normative nasalance scores for normal young adults speaking the Flemish language provide important reference information for Flemish cleft palate teams. Sex-related differences and cross-linguistic differences were shown.
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Voinov, Vitaly. "Intrusive Voices: Translating Unexpected Changes of Speaker in the Bible." Bible Translator 71, no. 3 (December 2020): 281–302. http://dx.doi.org/10.1177/2051677020962171.
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When a change of speaker in a Scripture text is not explicitly introduced by a speech orienter, Bible readers may feel the text is “intrusive.” This article proposes a taxonomy for categorizing such intrusive voices in various passages of Scripture. The intrusion may be external (due to scribal activity) or internal (as written by the original author). Internal intrusions can be further classified as citations or unmarked conversational turns. Textual signals that a change of speaker has occurred in the original texts include a change in deictic reference (primarily pronominal) and change in semantic content. The article lists orthographic and linguistic devices that translators have used in existing Scripture translations to clarify that a change of speaker has occurred, and also examines several passages where it is not fully clear whether an intrusive voice is present or not.
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Cimaglia, Riccardo. "Relative indirette libere e causali indirette libere nella narrativa italiana ottocentesca." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 48, no. 2 (December 5, 2013): 221–53. http://dx.doi.org/10.1075/rro.48.2.02cim.
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In this paper I will analyze two subordinate clauses which can be frequently found within free indirect reported speech (FIRS, in the paper DIL): relative and causal clauses. After a short illustration of FIRS I will examine the two clauses with an analysis of the passages in FIRS from Italian narrative literature of the XIX century (especially Manzoni and Verga). A relative or a causal clause can recur within a FIRS passage, can open it or can constitute on its own a FIRS passage becoming, respectively, free indirect relative clause (FIRC, in the paper RIL) and free indirect causal clause (FICC, in the paper CIL). FIRC and FICC share two peculiarities: a) They have a rhematic function; b) They are cases of “hypotactizated parataxis” (FIRC and FICC, as subordinate clauses, connect a FIRS passage to the diegesis without the break of the normal FIRS, paratactically juxtaposed to the narratum). For this last peculiarity FIRC and FICC represented two important stylistic means for the novelists of the Realism to attain the impersonality of the author in the novel through a close fusion between the voice of the author and the voice of the characters.
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Bolay, Jordan. "‘Their song was partial; but the harmony […] suspended hell’: Intertextuality, voice and gender in Milton/Symphony X’s Paradise Lost." Metal Music Studies 5, no. 1 (March 1, 2019): 5–20. http://dx.doi.org/10.1386/mms.5.1.5_1.
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I illustrate how Symphony X’s concept album retells Milton’s Paradise Lost and complicates the narrative through its use of voice and creative extrapolation, resulting in an intertextual relationship through which the album and epic influence one another’s readings, particularly with regard to gender and the biblical binary of good/evil. One of the difficulties in interpreting the album is that singer Russell Allen shifts his tone of voice to suit the mood of the song, not to denote a change in speaker. Thus, key passages that blend characters’ voices on the album further emphasize the deconstruction of good and evil introduced through the extrapolated narrative and challenge the traditional gender roles presented in the source text. I conclude that within Symphony X’s writing and performances of Paradise Lost, the combination of performative genders challenges the politics of both the source text and the album’s cultural context, i.e. that of heavy metal.
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Blaisdell, Jay, and James B. Talmage. "Impairment of Face-, Nose-, and Throat-related Structures Sixth Edition Approaches." Guides Newsletter 24, no. 2 (March 1, 2019): 12–14. http://dx.doi.org/10.1001/amaguidesnewsletters.2019.marapr03.
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Abstract Facial disfigurements, including those caused by burns (thermal, chemical, or electrical) or trauma, are rated in the AMA Guides to the Evaluation of Permanent Impairment (AMA Guides), Sixth Edition, Chapter 11, which also discusses occupational overexposure to sunlight, airborne chemicals, heavy metals, and allergens that may lead to head and neck cancers and degraded ability to breathe, chew, swallow, smell, or speak. Additional relevant impairments include those of olfaction and taste, chewing and swallowing, voice and speech, and of the upper respiratory passages. For upper air passage defects and voice and speech impairments, the evaluator assigns an impairment rating by selecting the relevant table or grid in Chapter 11 and then assigning the appropriate impairment class, as determined by the key factor. The patient's history is the key factor for upper air passage deficits, and the performance measures of audibility, intelligibility, and functional efficiency collectively act as the key factor for voice and speech impairments. Once they select an impairment class, evaluators can modify the rating within the impairment class by considering remaining variables. When rating the patient's ability to smell and taste or chew and swallow, raters do not use impairment classes or modifiers. Rather, they assign impairment within an allowable range largely based on professional judgment complemented by objective findings and a well-documented rationale.
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Gasti, Helen. "Authorial presence in Sophocles’ Electra." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas 33, no. 1 (2021): 51–65. http://dx.doi.org/10.25145/j.fortunat.2021.33.03.
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Authorial presence in tragedy, where the poet never speaks in his own person and where there is no master voice to guide our reception, is elusive and implicit. Despite tragedy’s polyphony the purpose of this study is to analyze some sample passages from Sophocles’ Electra for textual traces of its author’s voice as a response to Aeschylus’ Oresteia. Each part of this study is focusing on different aspects of self-reflexive poetics.
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RICE, JOHN A. "THE MORTE: A GALANT VOICE-LEADING SCHEMA AS EMBLEM OF LAMENT AND COMPOSITIONAL BUILDING-BLOCK." Eighteenth Century Music 12, no. 2 (August 24, 2015): 157–81. http://dx.doi.org/10.1017/s1478570615000287.
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ABSTRACTEighteenth-century composers wrote many passages in which a treble line rises from scale degrees 1 or 3 up to 5, while the bass descends chromatically from 1 down to 5. The diverging lines reach an octave by way of an augmented-sixth interval. These passages represent a voice-leading schema analogous to those introduced by Robert O. Gjerdingen in his book Music in the Galant Style. Following Gjerdingen's use of Italian words to refer to some of his schemata, I propose the word ‘Morte’ for this schema and survey its use by musicians, who relied on it not only as an intensely expressive gesture that could effectively enhance the most tragic moments of a work but also as a compositional building-block: an ornate half cadence that they found especially useful in transitional passages and development sections.
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Bray, Joe. "The ‘dual voice’ of free indirect discourse: a reading experiment." Language and Literature: International Journal of Stylistics 16, no. 1 (February 2007): 37–52. http://dx.doi.org/10.1177/0963947007072844.
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The emergence of cognitive poetics has focused attention on how stylistic features are processed by readers. One area ripe for empirical investigation in this respect is point of view. Little attention has previously been paid in cognitive science to the specifics of how point of view is identified during reading. This essay reports on an experiment designed to examine how readers respond to a narrative style that has attracted a great deal of interest from both stylisticians and literary critics: free indirect discourse. The experiment tested two questions in particular: (1) Do readers hear a ‘dual voice’ when reading passages of free indirect discourse? and (2) What kind of ‘contexts’ influence the identification of point of view? Some critics have noted the importance of the preceding co-text in deciding whose point of view is present in ambiguous passages; this experiment suggests that the succeeding co-text might also be relevant. This in turn has implications for the flexibility of the reading process, especially when more than one point of view may be present.
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Lorkowski, C. M. "Doxastic Naturalism and Hume's Voice in theDialogues." Journal of Scottish Philosophy 14, no. 3 (September 2016): 253–74. http://dx.doi.org/10.3366/jsp.2016.0142.
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I argue that acknowledging Hume as a doxastic naturalist about belief in a deity allows an elegant, holistic reading of his Dialogues. It supports a reading in which Hume's spokesperson is Philo throughout, and enlightens many of the interpretive difficulties of the work. In arguing this, I perform a comprehensive survey of evidence for and against Philo as Hume's voice, bringing new evidence to bear against the interpretation of Hume as Cleanthes and against the amalgamation view while correcting several standard mistakes. I ultimately isolate the interpretation of Philo's Reversal at the end of the Dialogues as of paramount importance, and show how my naturalistic interpretation makes this, and other notoriously difficult passages, unproblematic.
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Vespa, Marco. "A Voice without a Muse." Greek and Roman Musical Studies 5, no. 2 (August 10, 2017): 159–77. http://dx.doi.org/10.1163/22129758-12341298.
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Ancient sources often describe non-human primates as imitative animals, i.e., living beings able to reproduce, with different degrees of perfection, gestures and movements carried out by human beings. Indeed monkeys are often characterized asmimeloi, mimetikoi, terms coming from the same semantic field of the nounmimos(< *mim-).But what about the world of sounds? Are non-human primates regarded as good imitators and performers also when it comes to music and singing? Ancient evidence clearly indicates that other animal species (like nightingales or partridges), and not monkeys, were mainly regarded as excellent singers worthy of imitation by human beings. Through a detailed analysis of ancient Greek sources, especially some passages in Galen, this paper aims at investigating why non-human primates were not considered good singers. In particular, this survey tries to shed a new light on some cultural associations, according to which the small and weak voice of monkeys (µικροφωνία) and the voice of other figures in ancient society (like actors, musicians, kids, eunuchs and so on) were described in a similar way.
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Front, Izabela. "Un Dieu sadique : le rôle de l’image blasphématoire de Dieu dans Dolce agonia de Nancy Huston." Quêtes littéraires, no. 3 (December 30, 2013): 160–66. http://dx.doi.org/10.31743/ql.4617.
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The present article seeks to analyze the way in which the blasphemous figure of God in Dolce agonia by Nancy Huston allows the author to describe the sacred element in human life, seen as deprived of transcendental character. This is possible thanks to the three aspects of the text dependent on the type of God’s figure, which are: the contrast between passages marked by the cynical God’s voice and passages focused on man’s life filled with suffering; the tone and the appropriation of time var-iations and, finally, the double character of God who, at the same time, is indifferent to man’s lot while touched by his capacity of love.
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Johnson, Randolph B., David Huron, and Lauren Collister. "Music and Lyrics Interactions and their Influence on Recognition of Sung Words: An Investigation of Word Frequency, Rhyme, Metric Stress, Vocal Timbre, Melisma, and Repetition Priming." Empirical Musicology Review 9, no. 1 (October 24, 2013): 2. http://dx.doi.org/10.18061/emr.v9i1.3729.
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This study investigated several factors presumed to influence the intelligibility of song lyrics. Twenty-seven participants listened to recordings of musical passages sung in English; each passage consisted of a brief musical phrase sung by a solo voice. Six vocalists produced the corpus of sung phrases. Eight hypotheses derived from common phonological and prosodic principles were tested. Intelligibility of lyrics was degraded: (i) when archaic language was used; (ii) when words were set in melismatic rather than syllabic contexts; (iii) when the musical rhythm did not match the prosodic speech rhythm; and (iv) when successive target words rhymed. Intelligibility of lyrics was facilitated: (i) when words contained diphthongs rather than monophthongs; (ii) when a word from an immediately previous passage reappeared; (iii) when a syllabic setting of a word was preceded by a melismatic setting of the same word. No difference in word intelligibility was observed between music theater singers and opera singers.
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Radošević, Andrea. "Croatian Translation of Biblical Passages in Medieval Performative Texts." Studies in Church History 53 (May 26, 2017): 223–41. http://dx.doi.org/10.1017/stc.2016.14.
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This article will examine the Croatian translations of the biblical parts of medieval Latin performative texts (sermons, dialogues) which were translated in the fifteenth and sixteenth centuries and written in Glagolitic script. The Croatian translators were acquainted with the parts of Scripture which were read during the liturgy. Their knowledge of the Bible was evident in the addition of archaisms typical for Glagolitic liturgical books written in Croatian Church Slavonic. Often the quotations from Scripture were adjusted to the narrator's (or preacher's) voice in different ways, by changing the grammar of the Latin text as well as by shortening or expanding the quotations. Research has shown that one of the main goals of the translators in changing biblical quotations was to improve the performative characteristics of translation, so that the translated text could be orally performed.
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Salles, Paulo. "Voice Leading Among Pitch-Class Sets: Revisiting Allen Forte’s Genera." MusMat: Brazilian Journal of Music and Mathematics IV, no. 2 (December 28, 2020): 66–79. http://dx.doi.org/10.46926/musmat.2020v4n2.66-79.
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The theory of PC-set class genera by Allen Forte was an important contribution to the understanding of similarity relations among PC sets within the tempered system. The growing interaction between the universes of PC-sets and transformational theories has been explored the space between sets of the same or distinct cardinality, by means of voice-leading procedures. This paper intends to demonstrate Forte’s method along with proposals by other authors like Morris, Parks, Straus, Cohn, and Coelho de Souza. Some analysis demonstrates such operations in passages picked from Heitor Villa-Lobos’s works, like the Seventh String Quartet and the First Symphony.
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Gallena, Sally K., and James A. Pinto. "How Graduate Students With Vocal Fry Are Perceived by Speech-Language Pathologists." Perspectives of the ASHA Special Interest Groups 6, no. 6 (December 17, 2021): 1554–65. http://dx.doi.org/10.1044/2021_persp-21-00083.
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Purpose: Vocal fry (VF), a low-pitched, grating voice quality, appears to be trending among young women. Current research lacks consensus of listeners' perceptions associated with VF. This study investigated practicing speech-language pathologists' (SLPs) perceptions of graduate speech-language pathology students who speak with VF. Method: Thirty-two graduate students were recorded reading the Rainbow Passage and providing a brief monologue. VF was detected perceptually and acoustically for all 32 students' recordings. For the 127-syllable passage, percent of VF (%VF) ranged from 2.36% (three syllables) to 40.16% (51 syllables) with an average of 12.25% (15 syllables). Twelve recorded passages were selected and sorted into two statistically significant groups ( p = .001; seven with the most %VF and five with the least). Passage samples were randomly uploaded into a Qualtrics survey. Practicing SLPs listened to each sample and provided categorical and visual analog ratings for voice pleasantness and perceived speaker competence, education, hirability, and professionalism. Results: The online survey was completed by 150 experienced SLPs who spanned differing geographical locations, work settings, and years of experience. Chi-square tests of independence and independent-samples t tests revealed statistically significant findings for all rated characteristics, indicating that VF samples were less pleasant, and their users less competent, hirable, educated, and professional. Conclusions: These findings support those of Gottliebson et al. (2007), whereby 32% of our cohort had ≥ 15 instances of VF during passage reading, and those of Anderson et al. (2014), that VF negatively impacts how a speaker is perceived. Speech-language pathology graduate students should be cognizant of VF use, as they seek to secure competitive externships and jobs.
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Singer, Julie. "Fetal Personhood and Voice in Medieval French Literature." PMLA/Publications of the Modern Language Association of America 136, no. 5 (October 2021): 696–710. http://dx.doi.org/10.1632/s0030812921000419.
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AbstractThis essay examines medieval French literary representations of fetal speech and proposes a new understanding of medieval conceptions of personhood. Placing passages from the Roman de Fauvel, Histoire de Marie et de Jésus, Pelerinage de Jhesucrist, and Tristan de Nanteuil in conversation with elements of thirteenth-century theological, encyclopedic, and scientific discourses, as well as with contemporary sound studies and theories of the voice, this essay shows that emergent human personhood is constructed in medieval texts as an audible social phenomenon. Medieval personhood is a notion reliant on sound and speech, and thus on the presence of an audience: a person is a composite of body and soul occupying a social and vocalic space shared with other persons. This relational understanding allows for a redefinition of personhood: not as a quality originating at a fixed point in human development but as a social and sensory experience.
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Williams, Tyler M. "Outside and Outside: Plastic Passages—of Philosophy and Literature." philoSOPHIA 13, no. 1 (2023): 99–123. http://dx.doi.org/10.1353/phi.2023.a919599.
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Abstract: In Subjects That Matter , Namita Goswami attends to philosophy’s institutional and disciplinary failures to reconcile its identitarian claims to universality and reason with the feminist and postcolonial modes of thinking it traditionally keeps at bay. This essay places Goswami’s critique within a context of “the thought from outside,” which, beginning with Foucault’s reading of Blanchot, continuing through the geopolitics of Dussel’s philosophy of liberation, and prominent in Catherine Malabou’s conceptualization of plasticity, demonstrates how political critiques of philosophical hegemony contain an implicit theorization of “literature.” If “literature” gives voice to the thought from outside, does it in turn “decolonize” philosophy? If so, what itinerary of thought ought to follow the relationship between this literary decolonization of philosophy and its imbrication within the fold of philosophical thought? How to conceptualize the plastic relation between inside and outside, between center and periphery, without subordinating the latter to the hegemony of the former? This essay argues for a coherence between Goswami’s and Malabou’s materialist understandings of difference and a conceptualization of literature as an “outside” to philosophy that operates “excentrically” “inside” philosophy.
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Perry, Jeffrey. "Paganini's Quest: The Twenty-four Capricci per violino solo, Op. 1." 19th-Century Music 27, no. 3 (2004): 208–29. http://dx.doi.org/10.1525/ncm.2004.27.3.208.
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Nicolo Paganini (1782-1840) has long been viewed as an emblem of virtuosity, his music heard, if at all, through the variations and adaptations of other composers. This historical neglect and the Paganini mythos notwithstanding, the twenty-four Caprices, op. 1, published in 1820, establish his place as a serious composer whose innovations must be considered in any assessment of early Romanticism. In the Caprices, two voices seem to speak. The first is lyrical and draws on the vocal and operatic roots of PaganiniÕs musical upbringing. The second I have labeled the questive voice. Romanticism is an aesthetic of distance; the questive voice is a means of traversing the immensity that is the one essential feature of early Romanticism in its incarnations. This immensity manifests itself in the wide registral space opened and explored in the Caprices; in the motivically driven, asymmetrical construction of many passages found therein; and in the extensive harmonic reach of many of the Caprices. This article presents close readings of Caprices nos. 1, 2, 4, 9, and 10, drawing on Schenkerian methodologies and work by Ratner, Caplin, and Burnham to articulate the lyrical/questive dichotomy and interplay between technique and expression in these singular works by a singular composer.
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Grier, James. "The Reinstatement of Polyphony in Musical Construction: Fugal Finales in Haydn's Op. 20 String Quartets." Journal of Musicology 27, no. 1 (January 1, 2010): 55–83. http://dx.doi.org/10.1525/jm.2010.27.1.55.
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The title, borrowed from Paul Henry Lang's description of Haydn's op. 20 string quartets in Music in Western Civilization, characterizes Haydn's endeavor to create more independent partwriting in the string quartet. First, Haydn's fugal practice is noteworthy particularly for the construction of the fugal exposition and his treatment of multiple subjects, the question of what constitutes a regular countersubject, and the treatment of redundant entries. Second, the chief strategy in these movements is the invention of invertible counterpoint in three voices. Haydn writes a double fugue (with a regular countersubject), as well as a triple and quadruple fugue, in which the principal issue is the ability of each subject (including the double fugue's countersubject) to serve as any voice——top, middle or bottom——in a texture of invertible counterpoint. The expertise he attained with these works then allows him to exploit the technique in later quartets, principally in the development sections of sonata-form movements. There, he uses invertible counterpoint to establish the independence of each voice, and to create longer passages unarticulated by cadences, sections distinct from the more clearly articulated periodic expositions and recapitulations. The three fugal finales of op. 20, therefore, constitute Haydn's advanced study not so much in fugal procedure as in the practice of invertible counterpoint.
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Trautner-Kromann, Hanne. "Jewish polemics against Christianity and the Christians in Northern and Southern France from 1100 to 1300." Nordisk Judaistik/Scandinavian Jewish Studies 7, no. 2 (September 1, 1986): 71–83. http://dx.doi.org/10.30752/nj.69407.
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Jewish polemics against Christianity in the Middle Ages show a striking change in contents and in the linguistic form of the texts after the First Crusade. While the texts up to about 1100 are reports on religious discussions between Jews and Christians, often held in a friendly tone, the texts after 1100 contain aggressive or bitter attacks on the Christians. An example of how this was put into words appears in a Jewish text from the 1250s. In seven points the author gives voice to this protest against the introduction by the French king of a number of harsh edicts against the Jews. There is a marked dividing line between the predominantly aggressive texts from Northern France and the more sober ones from Southern France. On the one hand every single Jewish polemical passage should be analyzed as to form and content, including the context and text type in which the passage occurs, on the other hand the passages should be related to each other including their historical background. By this procedure of comparison every single passage can contribute towards creating a more differentiated and comprehensive picture of the conditions of the Jewish minorities in Christian Europe.
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Mercer-Taylor, Peter. "Listening for the “Still Small Voice” of Mendelssohn’s Domestic Elijah." Journal of Musicology 32, no. 1 (January 1, 2015): 40–77. http://dx.doi.org/10.1525/jm.2015.32.1.40.
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The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity of his youth and adulthood. This article explores a fourth, essentially untested, interpretive approach: the possibility that Mendelssohn crafts from Elijah’s story a heartfelt affirmation of domesticity, an expression of his growing fascination with retiring to a quiet existence in the bosom of his family. The argument unfolds in three phases. In the first, the focus is on that climactic passage in Elijah’s Second Part in which God is revealed to the prophet in the “still small voice.” The turn from divine absence to divine presence is articulated through two clear and powerful recollections of music that Elijah had sung in the oratorio’s First Part, a move that has the potential to reconfigure our evaluation of his role in the public and private spheres in those earlier passages. The second phase turns to Elijah’s own brief sojourn into the domestic realm, the widow’s scene, paying particular attention to the motivations that may have underlain the substantial revisions to the scene that took place between the Birmingham premiere and the London premiere the following year. The final phase explores the possibility that the widow and her son, the “surrogate family” in the oratorio, do not disappear after the widow’s scene, but linger on as “para-characters” with crucial roles in the unfolding drama.
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Amelang, David J. "“A Broken Voice”: Iconic Distress in Shakespeare’s Tragedies." Anglia 137, no. 1 (March 14, 2019): 33–52. http://dx.doi.org/10.1515/ang-2019-0003.
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Abstract This article explores the change in dynamics between matter and style in Shakespeare’s way of depicting distress on the early modern stage. During his early years as a dramatist, Shakespeare wrote plays filled with violence and death, but language did not lose its composure at the sight of blood and destruction; it kept on marching to the beat of the iambic drum. As his career progressed, however, the language of characters undergoing an overwhelming experience appears to become more permeable to their emotions, and in many cases sentiment takes over and interferes with the character’s ability to speak properly. That is, Shakespeare progressively imbued his depictions of distress with a degree of linguistic iconicity previously unheard of in Elizabethan commercial drama. By focusing on the linguistic properties of three passages of iconic distress – Hamlet’s first soliloquy, Othello’s jealous rant, and King Lear’s dying words – this article analyses the rhetorical adjustments Shakespeare undertook in his effort to raise the level of verisimilitude of emotional speech in his plays.1
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Calcagno, Mauro. "Signifying Nothing: On the Aesthetics of Pure Voice in Early Venetian Opera." Journal of Musicology 20, no. 4 (2003): 461–97. http://dx.doi.org/10.1525/jm.2003.20.4.461.
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Operas written in Venice in the 1640s feature surprisingly long melismas often setting seemingly insignificant words, in opposition to (although concurrently with) traditional madrigalisms. This magnification of pure voice over word meaning is consistent with the aesthetics presented by members of the Venetian Accademia degli Incogniti, known for its pro-opera stance. In previously unexplored works the academicians advocate the controversial concept of Nothing as an all-embracing phenomenon. This includes language, in which the Incogniti emphasize sound as independent from meaning-a claim with significant consequences for music aesthetics. The academy's emblem articulates a parallel discourse on voice through visual means. By musical means, passages from works by Barbara Strozzi, Claudio Monteverdi (an oft-discussed melisma in Poppea, I, 6), and Francesco Cavalli also articulate Incogniti aesthetics. In elaborating their ideas the academicians relied upon a work that indeed presented a manifesto for sheer vocality, L'Adone (1623) by Giovanbattista Marino, an academy member. The Incogniti's Marinist aesthetics was to dominate the rest of the century until its object, pure voice, came under sharp criticism by members of yet another academy, the Arcadia.
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Maryati, Selvi, Safnil Arsyad, and Syafryadin Syafryadin. "Linguistics Features of Reading Passage in English Text Book K-13 Revised Edition for Senior High School Students in Indonesia: Analysis of Basic Text Properties." Edu-Ling: Journal of English Education and Linguistics 5, no. 1 (December 31, 2021): 17. http://dx.doi.org/10.32663/edu-ling.v5i1.2022.
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The objectives of this research are to identify the linguistic features contained in K 13 English textbook revised edition of grades X, XI, and XII published by the Ministry of Education and Culture of the Republic of Indonesia in terms of sentence pattern, types of tenses, voice, and aspect. This research is descriptive quantitative research. The sample of this research is thirty-nine reading passages were extracted from K13 English textbook revised edition published by the Indonesian Ministry of Education and Culture for senior high school students in Indonesia. All reading passages are taken as a sample, including fourteen texts of grade X, nine texts of grade XI, and sixteen texts of grade XII. The data were gathered by using a checklist and were analyzed by content analysis method. The findings showed that 1) The most common sentence patterns found are simple sentences. 2) Simple past tense is the majority of tenses used in reading the passages, especially at grade X and XI textbooks, while simple present tense is the dominant tenses found at grade XII. 3) The use of active voice dominates all reading passages at all grade levels. 4) The intensity of using the perfective aspect is higher than the imperfective aspect. 5) This result also implies that there are some differences in the findings of linguistic features from the three levels of this book. First, in terms of sentence patterns used in textbooks, at grade X the order of sentence patterns begins from the simple to the complicated one; simple sentences, then compound sentences, next complex sentences, and finally compound-complex sentences. Meanwhile, at grades XI and XII, the most complicated sentence patterns, namely compound-complex sentences, are less than compound sentences. Second, in terms of the types of tenses, the difference is that at grade X and XI textbooks, it is found that the dominant tenses used are simple past tense, while at grade XII textbooks, the most common tenses are simple present tense. these results indicate that the four linguistic features contained in English textbooks for high school In conclusion students in Indonesia need to be taught to students so that students can more easily understand and capture the meanings contained in the textbooks.
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Hübner, Wolfgang. "Sonus triplex: von Varros Triaden zur Trinität." Vigiliae Christianae 70, no. 5 (November 14, 2016): 509–34. http://dx.doi.org/10.1163/15700720-12341278.
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Since his early days Augustine was acquainted with the Varronian triplicity of sound (vocalis, semivocalis—mutus). He employed it even in his Enarrationes in psalmos when explaining the musical instruments mentioned in the Psalter. After having explored the allegorical meaning of the instruments mentioned in particular biblical passages—including the human voice—he interprets their symphony in the final Psalm 150, relating the Varronian triad uoce—spiritu—pulsu to the anthropological triplicity mens—spiritus—corpus as well as to the theological Trinity.
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Chatterjee, Indranil, Shubhangi Shree Bhatt, Kavita Kumari, Divya Raj, and Vidushi Saxena. "Influence of Khasi Language on Nasal and Oral Passages in English: A Nasometric Study." Bengal Journal of Otolaryngology and Head Neck Surgery 28, no. 1 (April 30, 2020): 17–22. http://dx.doi.org/10.47210/bjohns.2020.v28i1.22.
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Introduction
Speech is a overlaid function of respiratory, phonatory, resonatory, articulatory systems . Nasalance can be defined as the relative amounts of oral and nasal acoustic energy in speech done by modification of oral and nasal cativities that is complex activity of the resonator system. Nasometer was developed by Samuel Fletcher, Larry Adams, and Martin McCutcheon at the University is a computer based instrument facilitating accurate analysis of signal yielding nasalance scores. There is no report regarding nasalence score variance in khasi language speakers speaking English.
Materials and Methods
The study aims at analysing and measuring nasalence score in Khasi speakers reading English passages. A total of 5 female subjects were chosen who were native speakers of khasi language and who had exposure of English language since childhoods were selected. Nasometer II Model 6400 (Software version 2.6) of Key Elemetrics Corporation was used. Three standardized passages (Zoo passage, Rainbow passage and nasal sentences) were used for the study.
Results
The mean nasalance scores obtained for zoo, rainbow and nasal sentences in female were 19.39± 12.21 SD, 38.13 ± 14.83 SD, 68.33 ± 15.29 SD and 18.26 ± 3.53 SD, 33.13 ± 1.68 SD, 63.20 ± 88 SD respectively. Standard norms show significant differences in nasalance scores obtained for Zoo, Rainbow and Nasal Sentences. Paired t-test was used for comparison among the sentences and computation of data show more significant differences for nasal sentences as compared to zoo and rainbow sentences, that is significant (p>0.05). Rainbow sentences revealed more nasalance scores than zoo sentences (p>0.05) i.e. level of significance.
Conclusion
The reported normative Nasalance data can be used by several voice clinicians for assessing resonance quantitively for khasi speakers using austrioasiatic language.
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Sanborn, Geoffrey. "The Pleasure of Its Company: Of One Blood and the Potentials of Plagiarism." American Literary History 32, no. 1 (December 31, 2019): e1-e22. http://dx.doi.org/10.1093/alh/ajz054.
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Abstract In this essay, Sanborn extends his earlier work on Pauline Hopkins’s plagiarism by showing that Hopkins plagiarized a total of 143 passages from 36 texts in her novel Of One Blood and that at least 10,492 of the roughly 52,730 words in the novel—20%—were imported from other people’s publications. Sanborn argues that plagiarism is, for Hopkins, not a canny subversion or artful transmutation of another writer’s work; it is a means by which she can hold her text internally open to other voices and temporalities. It does not point us backward to a critique of the texts from which she drew—texts that she could not have imagined anyone discovering—but forward to the pleasurable possibility of a profoundly mixed-voice world. Like Marvel’s The Black Panther (2018), Of One Blood offers its audience a series of resources for dreaming, a series of larger-and-stranger-than-life scenarios capable of being used in self-transformational ways.
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Taylor, Sammi, Christopher Dromey, Shawn L. Nissen, Kristine Tanner, Dennis Eggett, and Kim Corbin-Lewis. "Age-Related Changes in Speech and Voice: Spectral and Cepstral Measures." Journal of Speech, Language, and Hearing Research 63, no. 3 (March 23, 2020): 647–60. http://dx.doi.org/10.1044/2019_jslhr-19-00028.
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Purpose This study examined differences in selected acoustic measures of speech and voice according to age and sex and across families. Method Participants included 169 individuals, 79 men and 90 women, from 18 families, ranging in age from 17 to 87 years. Participants reported no history of articulation disorders, stroke or active neurologic disease, or severe-to-profound hearing loss. They read aloud two passages to facilitate examination of the following speech and voice acoustic parameters: fricative spectral moments (center of gravity, standard deviation, skewness, and kurtosis), the proportion of time spent speaking, mean speaking fundamental frequency, semitone standard deviation (STSD), and cepstral peak prominence smoothed. Results The results indicated a significant age effect for fricative spectral center of gravity, spectral skewness, and speaking STSD. There was a significant sex effect for spectral center of gravity, spectral kurtosis, and mean fundamental frequency. Familial relationship was significant for spectral skewness, STSD, and cepstral peak prominence smoothed. Conclusions These findings revealed that certain speech and voice features change with age and some change differently for men and women. Additionally, speakers from the same family units may demonstrate similar patterns for prosody, voicing, and articulatory behavior. The results also demonstrated normal differences in speech and voice variation across age, sex, and family unit. Understanding patterns and differences across these demographic variables in healthy speakers is important to distinguishing more confidently between normal and disordered speech and voice patterns clinically.
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Sanz Jiménez, Miguel. "Linguistic Varieties in Homegoing: Translating the Other’s Voice into Spanish." Revista Alicantina de Estudios Ingleses, no. 36 (January 31, 2022): 149. http://dx.doi.org/10.14198/raei.2022.36.08.
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The objective of this paper is to study the Spanish translation of Yaa Gyasi’s Homegoing (2016), a novel that adopts the form of a neo-slave narrative to chronicle a black family’s history from eighteenth-century Ghana to the early twenty-first century in the United States. The contexts in which both the source and target text were published will be described, paying attention to paratexts, to the book’s reception, and to the translation’s positive reviews. Gyasi’s debut oeuvre depicts alterity and the non-standard linguistic varieties, such as Black English, spoken by the dispossessed Other. This paper examines the strategies that the translator, Maia Figueroa (2017), has made use of to render this interplay of voices into Spanish. In addition, it considers how her choice to standardize some fragments and to introduce marked non-standard language in certain passages affects the reflection of the narrative Us vs. Otherness in the target text.
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Zughayyar, Assist Prof Dr Hadi Sdech. "Ahmed thyme poem by the poet Mahmoud Darwish - Deliberative study -." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (November 6, 2018): 13–60. http://dx.doi.org/10.36473/ujhss.v221i1.423.
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This research contains a study of the poem Ahmad thyme poet Mahmoud Darwish in accordance with the curriculum deliberative, focused research on important aspects of this poem, one of the tricked hair Palestinian resistance; has adopted two votes, the voice of the poet, and the voice of the hero martyr (Ahmed), which was granted Guerilla recipes poet who carried the worries and concerns of his people, Fany of alienation and asylum as his people suffered, and it was the ultimate form of the Palestinian fighters.
And be this research brief introduction to the concept of deliberative and the date of its appearance, and its growth, the most famous patrons, and their relationship to other sciences, as well as literary doctrines, followed by passages search as follows: 1. Alachariat 2. verbal acts consisting of 1- Altaberiaat 2. Alabarriet 3- 4. The guidelines will repetitions, then diodes.
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Gribble, David. "Narrator Interventions in Thucydides." Journal of Hellenic Studies 118 (November 1998): 41–67. http://dx.doi.org/10.2307/632230.
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The main narrative of Thucydides is characterised by a third person ‘objective’ style where signs of the narrator are concealed. But this predominant narrative mode is punctuated by passages (2. 65, 6. 15, etc.) where the narrator interrupts the main account, referring to himself in the first person and/or to time outside that of the main narrative. These rare intrusions of the voice of the narrator-historian—‘narrator interventions’—are the most quoted and discussed in the whole History. Reaction to them has been of two sorts. They have either been seen as later additions and used as the centrepiece of analyst interpretations of the History, or they have been treated as expressions of the ‘judgement’ of the historian, providing the key to the History's meaning. The result of these approaches is unsatisfactory. The interventions are either bracketed as foreign to the original plan of the historian, or given special status as the exclusive source of his meaning. The effect is to cut them loose from the reading of the rest of the work, as intrusions of another stage of composition or of another voice which no longer narrates, but gives judgement. Worse still, such interpretation compares the decontextualised ‘judgements’ it has isolated from the narrative and declares them inconsistent with each other. Such ‘extrinsic’ approaches to the interventions risk reducing Thucydides’ text to a patchwork of differing and competing voices and opinions.
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Beal, Lissa M. Wray. "Mourning Women, the Voice of God, and the Limits of Lament: Women’s Songs of Lament in Jeremiah." Bulletin for Biblical Research 33, no. 4 (December 2023): 489–505. http://dx.doi.org/10.5325/bullbiblrese.33.4.0489.
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Abstract The book of Jeremiah contains metaphors depicting Israel and Zion as a woman. These include the city as a mourning woman (4:19–21; 10:20). Real mourning women are addressed in Jer 9:17–22, following laments variously attributed to Jeremiah and/or Yahweh (8:18–9:2, 10). Working with the (MT) canonical form and engaging the insights of trauma studies, this article traces linguistic and thematic connections between the two passages before tracing similar connections to Rachel’s lament (Jer 31). The mourning women in Jer 9 serve a societal role by giving voice to lament; this effective power is affirmed by trauma studies. When read alongside the lament by Jeremiah and/or Yahweh, this article notes the women also take up a prophetic role as with Jeremiah they embody and express Yahweh’s own pathos. In ch. 31, the mourning women are metaphorically instantiated in the eponymous mother who also voices Yahweh’s pathos yet remains uncomforted. This study points to the hope that arises from Yahweh’s identification with his people in the pathos expressed by prophet, mourning women, and Rachel. Ultimately, Yahweh’s identification with his people, and his words of hope offer comfort to unrequited lament.
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Tahiri, Lindita. "Lost in Translation: Narrative Perspective Silenced by the Voice of the Translator." Respectus Philologicus, no. 38(43) (October 19, 2020): 202–13. http://dx.doi.org/10.15388/respectus.2020.38.43.68.
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This study compares passages from four novels by the renowned Albanian author Ismail Kadare with their English translations: Prilli i thyer (Broken April, 1990 [1980]), Kronika në gur (Chronicle in Stone, 2007 [1971]), Vajza e Agamemnonit (The Daughter of Agamemnon, 2006 [2003]) and Pallati i ëndrrave (The Palace of Dreams, 2011 [1999]). It uses the linguistic analysis of style in the source and the target languages aiming to identify the modification of narrative perspectives during the translation process. The stylistic comparison of the original with translated versions demonstrates the shift from the internal perspective to the narratorial perspective of narration, which may be the result of the translator’s inclination to explain. In Kadare’s novels which have been translated from French, the tendency to make a clear borderline between narrative voices is evident. The translator’s lack of ability to pick out stylistic features indicating the internal perspective of the character impacts the mental representation produced by the reader of the translated text. The shift from the character’s to the narrator’s perspective influences not only the reader’s attitude towards the culture narrated in the text but also the way how the identity of the narrator is construted. Consequently, the imposed narratorial voice in the translated Kadare’s novels gives a different impression from the non-intrusive narration that the author managed to create in the communist regime.
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Hill, Peter. "Aspects of Zsolt Durkó's Piano Concerto." Tempo, no. 169 (June 1989): 47–49. http://dx.doi.org/10.1017/s004029820002516x.
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Durkó is no pianist, but you would never know from the way he writes for the piano, with a meticulous feeling for what makes the instrument musical. This much was evident from a glance at the score of his Concerto when it arrived (‘on approval’, as they say) on my piano last summer. So, too, was the depth of character and nuance in those passages simple enough for me to read at sight - one especially seductive example being a little two-part invention for the soloist, pedantic and wistful, to which a third voice (scored, of all things, for timpani) lends an air of oafish charm.
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Crawford, Matthew R. "Reading the Diatessaron with Ephrem: The Word and the Light, the Voice and the Star." Vigiliae Christianae 69, no. 1 (January 14, 2015): 70–95. http://dx.doi.org/10.1163/15700720-12341191.
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Through a consideration of the reception history of the so-called “Diatessaron,” Tatian’s second-century gospel compilation, we can learn much about the nature of this peculiar text. Of paramount importance here is the Syriac Commentary on the Gospel attributed to Ephrem of Nisibis. In this article I argue that the ordering of pericopae in the opening section of Tatian’s gospel, which interweaves Matthean and Lukan passages within a broadly Johannine incluisio, prompts the Syriac exegete to an unexpected interpretation of these narratives. By reading these pericopae as a single, continuous narrative, he creatively combines the divine “Word” and “Light” of the Johannine prologue with the Synoptic traditions about John the Baptist as the “voice” and about the star that shone to guide the magi, presenting the star and the voice as extensions of the Son’s own agency. This remarkably original interpretation of the nativity of Jesus illustrates the degree of artistry that went into the making of Tatian’s text and the novel interpretations it elicited from its readers.
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Neufeld, Gerald G. "Non-Foreign-Accented Speech in Adult Second Language Learners." ITL - International Journal of Applied Linguistics 133-134 (January 1, 2001): 185–206. http://dx.doi.org/10.1075/itl.133-134.01neu.
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Abstract The findings of this study add to the growing number of reports in which investigators claim to have located adult second language learners who, under rigorous test conditions, manage to pass as native speakers in L2. The aims of this paper were two, first, to provide a detailed account of how we tested and qualified our Anglophones as native-like speakers of French and, second, to suggest that, interesting as our data were, more questions emerge than do answers. Seven of 18 English/French bilinguals, having acquired L2 after the age of 16, were selected by means of a pre-test interview with three Francophones as “potentially of French-speaking background.” These seven, along with three Francophone controls, recited an 81-word passage in French onto a tape-recorder. Sixty-eight native-speaking French raters, of similar dialectal background and weak in English, each heard one of four tapes with differing random roders of the 10 passages, their task being to designate each voice as “Franco-phone” or “non-Francophone.” Four of our seven English-Franch bilinguals obtained ratings statistically comparable to those of our three Francophone controls.
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Zajdler, Ewa. "Between Sound and Voice: Teaching Chinese Tones To Non-Tonal Language Speakers." Roczniki Humanistyczne 69, no. 9 (December 3, 2021): 141–58. http://dx.doi.org/10.18290/rh21699-7.
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The production of highly intelligible syllables in Mandarin Chinese entails a successful production of tones, which poses a challenge for learners of Chinese as a foreign language. The aim of the current paper is to address this issue by identifying the key tonal features contributing to tone intelligibility in the lexemes produced by Polish learners of Mandarin Chinese as a foreign language. Samples of Polish female students’ tonal pronunciations at two stages of learning were selected and compared with productions made by a female native speaker of Mandarin Chinese from Taiwan. Four syllables produced by the students were selected from a corpus of read-out passages which had already been assessed for the intelligibility of monosyllabic lexemes by native judges. The students’ pronunciation samples (whose pronunciation improved from the A1 minus language level to A2) were analysed using pitch, fundamental frequency contour, and register span criteria, and then compared to the female native speaker’s pronunciations of the same syllables. Importantly, before the results of this analysis are presented, the simplified model of tones widely used in language instruction is compared and contrasted with the acoustic analysis of tonal productions made by the native speaker. This is done to show to what extent the simplified, widely used model reflects real-life tonal productions.
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Dell, Katharine. "The Cycle of Life in Ecclesiastes." Vetus Testamentum 59, no. 2 (2009): 181–89. http://dx.doi.org/10.1163/156853309x413372.
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AbstractAn exploration of the way the voice of the earth is heard in a cyclical view of nature presented in Ecclesiastes, notably in passages such as Eccl. 1:4-7 and 11:3-5. Also an investigation into the way imagery is used from the natural world in the book as a whole, looking especially at the use of animal imagery, as from members of the earth community outside the human and yet integrally related to the human. The argument is pursued that instead of simply illustrating human life as part of the dualistic worldview of the book, e.g. in 3:18-21, that in many ways the earth and its creatures define human life within the context of the earth's character, cycles and abundance.
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Tehseem, Tazanfal, Rabia Faiz, Musarrat Azher, and Zahra Bokhari. "Exploring the Portrayal of Female Voice in ‘Heer Ranjha’: A Gender-Based Study." Review of Education, Administration & LAW 4, no. 1 (March 31, 2021): 155–68. http://dx.doi.org/10.47067/real.v4i1.120.
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The present study aims at explicating the theme of love in the folk tale Heer Ranjha through the discourse stylistics perspective. To do this, Fairclough (2015) model is employed with a focus on lexical choices. The metaphors used in the dialogues portraying the theme of love have been carefully selected, and further the linguistic pattern employed has been significantly discussed to highlight the embedded theme of love as a dominant human emotion in folk tales. The study also aims at providing a richer, more complex and enlightened canvas of feminist theory highlighting the role of women and power relations between the two sexes. The data comprises on twenty passages from the translation of ‘Heer Ranjha’ by Usborne (1973) where the translator claims to have translated the epilogue at full length while the rest of the poem has been condensed without omitting anything significantly important to the theme. The study throws light on the language of the folk tale, which reflects socio-cultural features such as the patriarchic family structure of the time through the language choices. The flute, a bamboo musical instrument, is a metaphor of love in a dream-like romantic sound. Finally, this paper helps to develop a better understanding of folktales in a particular socio-cultural background.
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Mukhopadhyay, Adrita. "The Cacophony of Songbirds: A Potpourri of Voices in the Birdsongs of Kazi Nazrul Islam’s Lyrics and English Romantic Poetry." New Literaria 03, no. 02 (2022): 01–07. http://dx.doi.org/10.48189/nl.2022.v03i2.001.
Full textAbstract:
In spite of its conventional reception as an aesthetic catalyst in the romanticization of beauty, the idea of songbirds in verses is occasionally fed with alternate and wider perspectives - in my paper, I have tried to elucidate this, by exploring the multifaceted voices of songbirds found in the lyrics of Kazi Nazrul Islam and in the poems of English Romantic poets. The songs that seem invaluable to the commoners are the food for the bards. The birdsongs add meaning to the multiple atypical abstractions that are harbored in the creative minds. This paper intends to explore the interpretations of the songs by the most vocal agent of nature – the songbirds. Songbirds have offered insights about new methods of rebellion, enlightenment about the states of existence, the eye to seek, an idea about the range of possibilities inherent in nature and life, and many more to the composers. The following passages will also explore an image born in the minds of the composers, that illustrates the superiority of the birdsongs. It will also unfold the impressions of their imagination of the parallel universe that is the abode of the songbirds. The paper argues that the unfathomable birdsongs claim the ultimate voice in life.