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Literatura académica sobre el tema "Popular voice"

Autor: Grafiati

Publicado: 14 de marzo de 2024

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Artículos de revistas sobre el tema "Popular voice"

Karande, Pramod, Shubham Borchate, Bhavesh Chaudhary y Prof Deveshree Wankhede. "Virtual Desktop Assistant". International Journal for Research in Applied Science and Engineering Technology 10, n.º 3 (31 de marzo de 2022): 1916–20. http://dx.doi.org/10.22214/ijraset.2022.41024.

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Abstract: Voice Assistants are becoming immensely popular feature that has changed the way user interact with devices. Voice assistants are used in many devices like mobile phones, laptops. These voice assistants are based on Artificial-Intelligence and Natural Language Processing. They take human voices as input and give output in integrated voices. This voice assistant takes voice through microphone, we have used libraries like pyttsx3 to convert text-to-speech. Keywords: Voice Assistant, python, pyttsx3, Artificial Intelligence, Speech Recognition

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Ferragne, Emmanuel, Anne Guyot Talbot, Margaux Cecchini, Martine Beugnet, Emmanuelle Delanoë-Brun, Laurianne Georgeton, Christophe Stécoli, Jean-François Bonastre y Corinne Fredouille. "Forensic Audio and Voice Analysis: TV Series Reinforce False Popular Beliefs". Languages 9, n.º 2 (2 de febrero de 2024): 55. http://dx.doi.org/10.3390/languages9020055.

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People’s perception of forensic evidence is greatly influenced by crime TV series. The analysis of the human voice is no exception. However, unlike fingerprints—with which fiction and popular beliefs draw an incorrect parallel—the human voice varies according to many factors, can be altered deliberately, and its potential uniqueness has yet to be proven. Starting with a cursory examination of landmarks in forensic voice analysis that exemplify how the voiceprint fallacy came about and why people think they can recognize people’s voices, we then provide a thorough inspection of over 100 excerpts from TV series. Through this analysis, we seek to characterize the narrative and aesthetic processes that fashion our perception of scientific evidence when it comes to identifying somebody based on voice analysis. These processes converge to exaggerate the reliability of forensic voice analysis. We complement our examination with plausibility ratings of a subset of excerpts. We claim that these biased representations have led to a situation where, even today, one of the main challenges faced by forensic voice specialists is to convince trial jurors, judges, lawyers, and police officers that forensic voice comparison can by no means give the sort of straightforward answers that fingerprints or DNA permit.

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Kamps, Ivo, Annabel Patterson y Michael D. Bristol. "Shakespeare and the Popular Voice." MLN 105, n.º 5 (diciembre de 1990): 1085. http://dx.doi.org/10.2307/2905173.

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Kinney, Arthur F. y Annabel Patterson. "Shakespeare and the Popular Voice." Shakespeare Quarterly 42, n.º 2 (1991): 234. http://dx.doi.org/10.2307/2870551.

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Cummings, Brian. "Martin Marprelate and the Popular Voice". Studies in Church History 42 (2006): 225–39. http://dx.doi.org/10.1017/s0424208400003971.

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The curious career of ‘Martin Marprelate, gentleman’ is one of the most notorious and at the same time elusive episodes in the history of English puritanism, inspiring endless if largely futile speculation into the identity of its author. Part literary canard, part political scandal, part detective story, for around a calendar year between October 1588 and September 1589, Martin and his associates kept one step ahead of the pursuivants and produced seven scurrilous tracts aimed at the ecclesiastical hierarchy. Adding spice to the story, their main targets, John Whitgift, archbishop of Canterbury, and John Aylmer, bishop of London, were also the officers empowered by the Star Chamber in 1586 both to examine religious dissidents and to supervise the press. To keep up his cottage industry of satire and vilification, Marprelate moved his printing press from county to county (from Surrey to Northamptonshire to Warwickshire to Lancashire), from private dwelling to private dwelling, and turned the failure of his pursuers into further occasion for ridicule, insult, and his own popular triumph over adversity. Like a will o’ the wisp, he could disappear into the bushes and then emerge in a printed book whenever he wanted. Even after the main part of the operation was broken up and the typeface destroyed, he managed to get out one final tractlet as a last snook at the authorities. And then, whereas the printmen were examined and tortured, and Whitgift went after the more serious elements of the presbyterian cause with relentless violence, Martin himself escaped entirely.

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Attig, R. Brian. "The Gay Voice in Popular Music:". Journal of Homosexuality 21, n.º 1-2 (13 de mayo de 1991): 185–202. http://dx.doi.org/10.1300/j082v21n01_13.

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Auner, Joseph. "‘Sing it for Me’: Posthuman Ventriloquism in Recent Popular Music". Journal of the Royal Musical Association 128, n.º 1 (2003): 98–122. http://dx.doi.org/10.1093/jrma/fkg004.

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Drawing on writings concerning the cyborg and the posthuman, this article considers songs by Radiohead, Moby and others that use processed voices, digitally generated speech and sampled vocal loops. In these songs the technological sphere is made the locus of expression, while the human voices are mechanized and drained of subjectivity. These pieces – products of a rock band that relinquishes its voice to a computer, and of a ‘techno’ DJ striving to make mechanized dance music sing – can illustrate some ways musicians have used posthuman voices to chart and destabilize the boundaries of race, gender and the human.

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Deng, Rong Gen y Wei Ming Liao. "The Subjective Assessment of Soundscape in Campus — Taking YaoHu Campus of Jiangxi Normal University for Example". Advanced Materials Research 518-523 (mayo de 2012): 3792–95. http://dx.doi.org/10.4028/www.scientific.net/amr.518-523.3792.

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In order to the search for more effective noise control measures and a more rational urban planning from the angle of economy, environment, so that we can create a healthier living environment, this paper does some preliminary investigation in the aspect of soundscape. This paper introduces soundscape science research status and research results domesticity and abroad, and on this basis, makes a subjective evaluation of voice of the landscape in Jiangxi Normal University, by combinating Psychoacoustic Evaluation Method. This paper record various of sounds existing in the campus, analyses properties of each sound, and does a large-scale survey about the popularity of these sounds. The paper chooses ten most popular voices using mark-giving method, and analyses the ten 10 kinds of sound by SD methods. The following are the results: (1) the ten most popular voices in the campus: voice of birds, sounds of musical instruments, voice of singing、reading、and teachers’ lectures, and the sound of radio(music)、 broadcasting (in English and other programs)、computer sound (music, film sound) and wind，50% of which are natural sounds, 30% human voice, and 20% noise of machines. From above, we can see that the sounds from nature are more acceptable. (2) By using semantic differential method (SD Act), the paper does a subjective evaluation on the ten popular kinds of voices. Marks are different form different analysing angle, that is, different people like different voices on different degrees. (3) When people work and learn, it is good to create some comfortable sounds in the surroundings and control or eliminate noisy sounds. Creating a comfortable sound surrounding environment is a good way to improve people’s working and learning effeciency.

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PLASTINO, GOFFREDO. "Lazzari felici: Neapolitan song and/as nostalgia". Popular Music 26, n.º 3 (octubre de 2007): 429–40. http://dx.doi.org/10.1017/s0261143007001365.

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AbstractAlthough the canzone napoletana (Neapolitan song) is the best-known Italian popular music in the world, it is also the most misunderstood. It is mostly associated with operatic or quasi-operatic vocal styles, but all the other Neapolitan popular voices, the performance features and even the history of this musical genre are less well known. This essay in particular considers how the porous Neapolitan voice is a ‘space’ for complex negotiations between different musical styles, and how through this voice (that admits within itself the existence of other vocal styles) Neapolitan composers, musicians and singers articulate different relationships between music, history and nostalgia.

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Strumbl, Melanie. "Voice, Affect, Grain: Their Relevance in Bodily Aesthetic Experience and Popular Singing Styles". Cultural History 7, n.º 2 (octubre de 2018): 205–25. http://dx.doi.org/10.3366/cult.2018.0174.

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This article proposes that music and sound do not possess discursive meaning in a hermeneutical sense per se but should be recognized as a performative process. Consequently, music does not necessarily have meaning; rather, its essence is the moving of affects, a process of doing. The realization of music as a body in movement that affects other bodies is crucial to the understanding of the symbiosis of voice, sound, and body. Reading Jean-Luc Nancy's Listening enables a way of thinking about rhythm and timbre, sound, resonance and noise, voice and instrument, and ultimately song altogether that — connected with affect studies — might show the affectivity of resonating bodies and voices. Furthermore, Roland Barthes's essay The Grain of the Voice is an oft-cited and clairvoyant analysis of vocal sound that can be fruitfully combined with Nancy's philosophical treatise on the act of listening. Finally, notions of the affective turn will be linked with post-structuralist hermeneutics of the sonic quality of voice and sound. Against this theoretical backdrop, an endeavor to tackle the specific affective quality of voice and timbre should be made. Spectral analysis serves as an analytical tool to demystify the aesthetic appeal of singers like Janis Joplin, whose renditions are perceived as very emotional and authentic, due to her unique timbre and unique style of singing. Ultimately, the article is aiming towards discovering congruencies between aesthetic judgements on specific vocal artists and the sonic visualization of interpretation and vocal qualities thereof. Firstly, combining those two methodological approaches makes possible an analysis of the affective quality, the jouissance of an artist's mesmerizing voice and their aesthetic charm and, secondly, proves useful for cultural historians in terms of approaching an aesthetic phenomenon that has had relevance throughout the history of popular music.

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Tesis sobre el tema "Popular voice"

Jarman-Ivens, Freya. "Breaking voices : voice, subjectivity and fragmentation in popular music". Thesis, University of Newcastle upon Tyne, 2006. http://hdl.handle.net/10443/234.

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Four case studies from 'mainstream' popular music are used to explore the voice as a primary site for the construction of meaning in popular music, both as a vehicle for language and as an 'object' outside of or alongside language. The first chapter argues that the extensive use of overdubbing technology by the Carpenters forms part of their relationship with the 'geno-song', and that the cyborgian voice which emerges from such use of technology disrupts human-centred psychoanalytic models of subjective development. Finally, different recordings of 'Superstar' are analysed to show how different recordings of a song negotiate ideas of 'presence'. The second chapter outlines various sexually queer subjects presented by Madonna, and argues that the process of constant transformation challenges hegemonic Western notions of a unified 'self'. The chapter also argues that musical factors have underpinned her visual transformations, and that her vocality has suggested her maturation as an artist and challenged the ideology of 'voice' as a stable signifier of identity. A chapter on Eminem explores his simultaneous use of three distinct characters to play out different aspects of his own identity, and how his work represents and constructs masculinity. Specifically, the chapter argues that the use of language as a system does not easily parallel the masculinist content of the lyrics, but can instead be aligned with traditionally 'feminine' or feminising modes of writing. Moreover, according to a traditional gendered musical semiotics, the interface between language and music does not underline 'masculinity' in normative ways. The final chapter considers how ideas of 'self' and Other are negotiated in Elvis Impersonation. In particular, a model for understanding vocal impersonation is offered, using Freud's model of the ideal ego and Baudrillard's orders of simulacra. Finally, the chapter explores the representation and construction of masculinities in various examples of Elvis Impersonation.

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Snell, Merrie. "Lipsynching : popular song recordings and the disembodied voice". Thesis, University of Newcastle upon Tyne, 2015. http://hdl.handle.net/10443/2902.

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This thesis is an exploration and problematization of the practice of lipsynching to prerecorded song in both professional and vernacular contexts, covering over a century of diverse artistic practices from early sound cinema through to the current popularity of vernacular internet lipsynching videos. This thesis examines the different ways in which the practice provides a locus for discussion about musical authenticity, challenging as well as re-confirming attitudes towards how technologically-mediated audio-visual practices represent musical performance as authentic or otherwise. It also investigates the phenomenon in relation to the changes in our relationship to musical performance as a result of the ubiquity of recorded music in our social and private environments, and the uses to which we put music in our everyday lives. This involves examining the meanings that emerge when a singing voice is set free from the necessity of inhabiting an originating body, and the ways in which under certain conditions, as consumers of recorded song, we draw on our own embodiment to imagine “the disembodied”. The main goal of the thesis is to show, through the study of lipsynching, an understanding of how we listen to, respond to, and use recorded music, not only as a commodity to be consumed but as a culturally-sophisticated and complex means of identification, a site of projection, introjection, and habitation, and, through this, a means of personal and collective creativity.

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Gombay, Christie Carleton University Dissertation International Affairs. "The popular church in Guatemala: the silent voice". Ottawa, 1988.

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Jiang, Xinxin. "Whose Voice?: A Critical Analysis of Identity, Media, and Popular Music in The Voice of China". Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1530233479992508.

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Davidson, Esme. "Hearing stars : popular feature length animation and the celebrity voice". Thesis, Nottingham Trent University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442336.

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Campos, Marcio Roberto. "Canto popular: aspectos da atuação de professores de canto brasileiros". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20905.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-03-20T12:47:35Z No. of bitstreams: 1 Marcio Roberto Campos.pdf: 2117693 bytes, checksum: de21288c8044e845f15a419c5d1a5e18 (MD5)
Made available in DSpace on 2018-03-20T12:47:35Z (GMT). No. of bitstreams: 1 Marcio Roberto Campos.pdf: 2117693 bytes, checksum: de21288c8044e845f15a419c5d1a5e18 (MD5) Previous issue date: 2018-02-26
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Introduction: theoretical-practical knowledge is fundamental for a teacher and, usually, only with an appropriate method of teaching it is possible to transmit knowledge effectively. Thus, it is up to the singing teacher to master the specific technical issues of the art of teaching, as well as the particularities of each musical genre. Objective: to analyze the performance characteristics of a group of Brazilian teachers of popular singing. Method: a questionnaire specially designed for this study was applied, based on the literature and the researchers' experience. The instrument was divided into two parts: characterization of the sample and research on the performance of popular singing teachers. The survey was conducted online using the SurveyMonkey tool. Results: The sample was finalized with 175 teachers, 91 women and 84 men, predominantly in the age group of 30 to 39 years. About the method, 73.7% reported having a working method. For this group, five categories were created to name such methods. Of these categories, the one of known methods was the most outstanding, with 46.5%, followed by unnamed methods, with 33.3% and methods based on books, handouts, videos or singing schools, with 10.1%. In the description of the singing classes, seven categories were created and the most outstanding was the technique / exercises with 59.7%, followed by repertoire / performance with 54.3%, vocalizes / tuning with 36.4%, aspects related to the body with 34.1%, warm up with 32.6%, respiration / support with 31.0% and, finally, perception / proprioception with 24.0%. Conclusion: when analyzing the characteristics of the work of a group of teachers of popular singing we can conclude that these professionals have a method of work and, in general, in the singing class, the focuses are the techniques and the vocal exercises, as well as aspects related to repertoire and performance
Introdução: o conhecimento teórico-prático é fundamental para um professor e geralmente apenas com um método adequado de ensino se consegue transmitir de forma eficiente o conhecimento. Dessa forma, cabe, portanto ao professor de canto dominar as questões técnicas específicas da arte de ensinar, assim como das particularidades de cada gênero musical. Objetivo: analisar as características de atuação de um grupo de professores brasileiros de canto popular. Método: foi aplicado um questionário, elaborado especialmente para esse estudo, baseado na literatura e na experiência dos pesquisadores. O instrumento foi dividido em duas partes: caracterização da amostra e investigação sobre a forma de atuação de professores de canto popular. A pesquisa foi realizada online por meio da ferramenta SurveyMonkey. Resultados: a amostra foi finalizada com 175 professores, 91 mulheres e 84 homens e, com predomínio na faixa etária de 30 a 39 anos. Sobre o método 73.7% afirmaram possuir um método de trabalho. Para esse grupo foram criadas cinco categorias para nomear tais métodos. Entre as categorias com maior destaque, 46.5% para métodos conhecidos, 33.3% não deram nome para seus métodos e 10.1% para métodos baseado em livros, apostilas, vídeos ou escolas de canto. Na descrição das aulas de canto foram criadas sete categorias e a que teve maior destaque foi a de técnica / exercícios com 59.7%, seguida por repertório / performance com 54.3%, vocalizes / afinação com 36.4%. Na sequência as categorias aspectos relacionados ao corpo com 34.1%, aquecimento com 32.6%, respiração / apoio com 31.0% e por fim percepção / propriocepção com 24.0%. Conclusão: ao analisar as características do trabalho de um grupo de professores de canto popular concluímos que este profissional possui um método de trabalho e de maneira geral na aula de canto o foco são técnicas e exercícios vocais, além de aspectos relacionados ao repertório e a performance

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Greenberg, Jonathan Ross. "Singing up close voice, language, and race in American popular music, 1925-1935 /". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481673371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Nunes, Rafaela Rohsbacker Gonzalez. "Voz-ruído na canção popular brasileira: a expressividade das vozes femininas do samba-canção da década de 1950". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07112017-155453/.

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A canção conta com o colorido das qualidades vocais de seus intérpretes, que através de diferentes sonoridades desempenham papel na expressividade e na construção de seu sentido. Dentre estas sonoridades estão as vozes-ruído, entendidas nesta pesquisa como qualidades vocais que apresentam ruído sonoro junto ao tom vocal. O presente estudo tem como objetivo investigar os aspectos intrínsecos do som proveniente de tais vozes - características fisiológicas, acústicas, psicoacústicas e psicodinâmicas -, e propor um levantamento de categoria, investigando sua relação com a expressividade da voz cantada através de uma escuta analítica. O recorte desta pesquisa compreende o modelo de canto popular brasileiro, no repertório do samba-canção da década de 1950, nas vozes de Dalva de Oliveira, Ângela Maria, Dolores Duran e Maysa. Os resultados apontam para o papel das qualidades vocais das intérpretes na construção do sentido da canção, onde a voz-ruído e sua sonoridade antagônica ajudam a delinear um estado emotivo expresso pela letra, assim como sugerem a identificação das cantoras às vertentes estéticas do samba-canção vigentes no período estudado.
The song counts on the color of the voice qualities of its performers, who through different sonorities play a role in expressiveness and in the construction of its meaning. Among these sonorities are the noise voices, understood in this research as voice qualities that present sonorous noise next to the vocal tone. The present study aims to investigate the intrinsic aspects of the sound coming from such voices - physiological, acoustic, psychoacoustic and psychodynamic characteristics - and to propose a category survey, investigating its relation with the expressiveness of the singing voice through an analytic listening. This research includes the popular Brazilian singing model, in the repertoire of the samba-canção of the 1950s, in the voices of Dalva de Oliveira, Ângela Maria, Dolores Duran and Maysa. The results point to the role of the voice qualities of the performers in the construction of the meaning of the song, where the noise voice and its antagonistic sonority help to delineate an emotional state expressed by the lyrics, as well as suggest the identification of the singers to the aesthetic aspects of the samba-canção during the study period.

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Torrence, Avril Diane. "The people's voice : the role of audience in the popular poems of Longfellow and Tennyson". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32172.

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At the height of their popularity in the mid-nineteenth century, a vast transatlantic readership conferred on Longfellow and Tennyson the title "The People's Poet." This examination of Anglo-American Victorian poetry attempts to account for that phenomenon. A poetic work is first defined as an aesthetic experience that occurs within a triangular matrix of text, author, and reader. As reception theorist Hans Robert Jauss contends, both the creator's and the receptor's aesthetic experiences are filtered through a historically determined "horizon of expectations" that governs popular appeal. A historical account of the publication and promotion of Longfellow's and Tennyson's poetry provides empirical evidence for how and why their poetic texts appealed to a widespread readership. This account is followed by an analysis of the class and gender of Victorian readers of poetry that considers the role of "consumers" in the production of both poetry and poetic personae as commodities for public consumption. The development of each poet's voice is then examined in a context of a gendered "separate-sphere" ideology to explain how both Longfellow's and Tennyson's adoption of "feminine" cadences in their respective voices influenced the nineteenth-century reception of their work. The final two chapters analyze select texts—lyric and narrative—to determine reasons for their popular appeal in relation to the level of active reader engagement in the poetic experience. Through affective lyricism, as in Longfellow's "Psalm of Life" and Tennyson's "Break, break, break," these poets demanded that their readers listen; through sentiment transformed into domestic allegory, as in Miles Standish and Enoch Arden, these poets demanded further that they feel. While both Victorian poets were later decanonized by their modern successors, contemporary critics, mainly academic, have restored Tennyson to the literary canon while relegating Longfellow to a second-rate schoolroom status. The conclusion speculates on the possible reasons underlying the disparate reputations assigned to the two poets, both of whom, during their lifetimes, shared equally the fame and fortune that attended their role as "The People's Voice."
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Hollywood, Paul. "'The voice of dynamite' : anarchism, popular fiction and the late political novels of Joseph Conrad". Thesis, University of Kent, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281600.

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Libros sobre el tema "Popular voice"

Patterson, Annabel M. Shakespeare and the popular voice. Cambridge, MA, USA: B. Blackwell, 1990.

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Dovchin, Sender, Alastair Pennycook y Shaila Sultana. Popular Culture, Voice and Linguistic Diversity. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-61955-2.

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Wang, Wen. Wen sheng: Hear voice. Beijing Shi: Jiu zhou yin xiang chu ban gong si, 2016.

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Popular religion in America: The evangelical voice. Westport, Conn: Greenwood Press, 1993.

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A voice of my own. Cleveland, SC: Bonne Chance Press, 1993.

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The voice in the govi. Cascade, Trinidad and Tobago: Paria Publishing, 2011.

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Garrod, Charles. Nat "King" Cole, his voice and piano. Zephyrhills, Fla. (Box 1687, Zephyrhills 34283): Joyce Record Club Publication, 1987.

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(Publisher), Dawson Michael, ed. The voice of the Jamaican ghetto. Kingston, Jamaica: Ghetto People Pub. Co., 2012.

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Democratic personality: Popular voice and the trial of American authorship. Stanford, Calif: Stanford University Press, 1998.

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(Fiji), Citizens' Constitutional Forum. Our voice, our future, our constitution. Suva, Fiji: Citizens' Constitutional Forum Ltd., 2012.

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Capítulos de libros sobre el tema "Popular voice"

Hörner, Fernand. "Analysing the voice in popular music with categories of “voice”". En Contemporary Popular Music Studies, 235–47. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-25253-3_22.

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Wiseman-Trowse, Nathan. "The Folk Voice". En Performing Class in British Popular Music, 88–105. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230594975_5.

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Mazer, Sharon. "Beyoncé's Homecoming | ‘Lift Every Voice and Sing'". En Performance in Popular Culture, 86–94. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003188346-12.

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Pande, Mrinal. "Construction of a Hindu Voice". En Popular Hinduism, Stories and Mobile Performances, 149–66. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003263548-6.

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Pande, Mrinal. "Construction of a Hindu Voice". En Popular Hinduism, Stories and Mobile Performances, 149–66. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003263548-6.

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Nyman, Jopi. "Responses to Brexit in Finnish Popular Culture". En Brexit and the Migrant Voice, 122–39. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003148357-10.

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Dovchin, Sender, Alastair Pennycook y Shaila Sultana. "Popular Culture, Transglossic Practices and Pedagogy". En Popular Culture, Voice and Linguistic Diversity, 191–216. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61955-2_8.

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Kilborn, Richard. "Docusoaps: The Ordinary Voice as Popular Entertainment". En The Documentary Film Book, 291–98. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_33.

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Dovchin, Sender, Alastair Pennycook y Shaila Sultana. "Language, Culture and the Periphery". En Popular Culture, Voice and Linguistic Diversity, 1–26. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61955-2_1.

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Dovchin, Sender, Alastair Pennycook y Shaila Sultana. "Transglossia: From Translanguaging to Transglossia". En Popular Culture, Voice and Linguistic Diversity, 27–56. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61955-2_2.

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Actas de conferencias sobre el tema "Popular voice"

Almeroth, Kevin C. y Mostafa H. Ammar. "Delivering popular web pages using cyclic multicast". En Voice, Video, and Data Communications, editado por Wai Sum Lai y Hisashi Kobayashi. SPIE, 1997. http://dx.doi.org/10.1117/12.290411.

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Nwe, Tin Lay, Arun Shenoy y Ye Wang. "Singing voice detection in popular music". En the 12th annual ACM international conference. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1027527.1027602.

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Caione, Adriana, Alessandro Fiore, Luca Mainetti, Luigi Manco y Roberto Vergallo. "Refactoring the UX of a popular voice application". En ICIST '20: 10th International Conference on Information Systems and Technologies. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3447568.3448538.

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Sha, Cheng-Ya, Yi-Hsuan Yang, Yu-Ching Lin y Homer H. Chen. "Singing voice timbre classification of Chinese popular music". En ICASSP 2013 - 2013 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2013. http://dx.doi.org/10.1109/icassp.2013.6637745.

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Psheminska, Larisa y Pavlo Tychyna. "Voice Controlled Devices:". En Human Interaction and Emerging Technologies (IHIET-AI 2022) Artificial Intelligence and Future Applications. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100840.

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Voice Controlled Devices (VCDs) are becoming increasingly popular, both as integrated voice control functionality in mobile and stationary devices and in the form of devices that can be controlled primarily by voice, such as smart speakers.Young adults have already grown up with digital technologies that can be operated via peripherals or touchscreens. It is particularly interesting whether this younger generation, familiar with conventional human-computer interfaces, will accept the voice control function. In this context, however, there is a lack of studies that address awareness, usage, and reservations of voice-controlled interfaces among young adults.This paper presents a quantitative study (n=246) that shows that while 96% of young adults are aware of VCDs, only 18% regularly use the voice control feature. However, 77% expressed concerns that their data would not be safe using VCDs.

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Van, Toan Pham, Ngoc Tran Ngo Quang y Ta Minh Thanh. "Deep Learning Approach for Singer Voice Classification of Vietnamese Popular Music". En the Tenth International Symposium. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3368926.3369700.

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Peng, Zhengwei, Jieyu Wu y Yue Li. "Singing Voice Conversion Between Popular Music and Chinese Opera Based on VITS". En 2023 IEEE Intl Conf on Dependable, Autonomic and Secure Computing, Intl Conf on Pervasive Intelligence and Computing, Intl Conf on Cloud and Big Data Computing, Intl Conf on Cyber Science and Technology Congress (DASC/PiCom/CBDCom/CyberSciTech). IEEE, 2023. http://dx.doi.org/10.1109/dasc/picom/cbdcom/cy59711.2023.10361493.

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Wu, Fengyan, Shutao Sun, Jianglong Zhang y Yongbin Wang. "Singing voice detection of popular music using beat tracking and SVM classification". En 2015 IEEE/ACIS 14th International Conference on Computer and Information Science (ICIS). IEEE, 2015. http://dx.doi.org/10.1109/icis.2015.7166648.

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Wang, Yu, Xinsheng Wang, Pengcheng Zhu, Jie Wu, Hanzhao Li, Heyang Xue, Yongmao Zhang, Lei Xie y Mengxiao Bi. "Opencpop: A High-Quality Open Source Chinese Popular Song Corpus for Singing Voice Synthesis". En Interspeech 2022. ISCA: ISCA, 2022. http://dx.doi.org/10.21437/interspeech.2022-48.

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Qin, Feiwei, Hairui Xu, Weicheng Zhang, Lin Yuan, Ming Li, Yusheng Liu, Ying Liu y Yong Chen. "Voice of the Customer Oriented New Product Synthesis Over Knowledge Graphs". En ASME 2018 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/detc2018-85909.

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The online shopping has been much easier and popular, and meanwhile brings new challenges and opportunities to the field of product design and marketing sale. On one hand, product manufacturers find it challenging to produce new popularly accepted products to meet the customers’ needs; on the other hand, end customers usually feel it difficult to buy ideal goods that they really want, even if navigating a huge amount of commodities. There are indeed a ‘communication gap’ between the customers and manufacturers. As an effort to partially resolve the issue, this paper proposes a novel product synthesis approach from ‘voice of the customer’ over product knowledge graphs. Here the voice of customers mainly refer to the buyers’ product reviews from online shopping platforms or blogs, while the product knowledge graph is constructed containing professional hierarchical product knowledge on its properties based on ontological models. Using the technologies of natural language processing, we first extract the customs’ polarities on each specific aspect of a product, which are then transited to design requirements on the product’s design components. Based on the requirement extractions, and the pre-built product knowledge, semantic web and reasoning techniques are utilized to synthesize a novel product that meets more customer needs. Typical case studies on mobile phones from raw online data demonstrate the proposed approach’s performance.

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Informes sobre el tema "Popular voice"

Fee, Kyle D. Does Job Quality Affect Occupational Mobility? Federal Reserve Bank of Cleveland, agosto de 2022. http://dx.doi.org/10.26509/frbc-cd-20220804.

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Job quality, a well-known topic in workforce development circles, is an underutilized but useful lens with which to examine labor market conditions. The Aspen Institute (2020), a long-time advocate for job quality, defines it as “a range of attributes that drive worker experiences: wages, benefits, scheduling, legal rights, equity and inclusion, opportunity to build skills and advance, supportive work environment, and worker voice.” Given the record number of resignations and available job openings, especially in the lower-paid industry sectors, along with popular labor market narratives around the Great R’s (Resignation, Renegotiation, Reshuffle), I wonder to what extent job quality plays a role in the occupational mobility of workers. Occupational mobility includes all potential outcomes an individual has when holding a job. For instance, in addition to the option of changing to another occupation, an individual can remain in that occupation, become unemployed, or leave the labor force. Occupational mobility metrics are an appealing way to explore labor market conditions because they provide a dynamic perspective, while traditional metrics such as unemployment and labor force participation rates tend to be static observations.

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse y Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), noviembre de 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.

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Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, febrero de 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.

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The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).

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