Artículos de revistas: "Voice expressivity"

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Chen, Weiyi, Xinmei Liu y Neal M. Ashkanasy. "Nonverbal Negative Expressivity, Team Voice Behavior, and Team Creativity". Academy of Management Proceedings 2019, n.º 1 (1 de agosto de 2019): 14044. http://dx.doi.org/10.5465/ambpp.2019.14044abstract.

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Miranda, Eduardo Reck. "Expressivity of voice synthesis by emphasizing source signal features". Journal of the Acoustical Society of America 118, n.º 2 (2005): 596. http://dx.doi.org/10.1121/1.2040280.

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Pauletto, Sandra, Bruce Balentine, Chris Pidcock, Kevin Jones, Leonardo Bottaci, Maria Aretoulaki, Jez Wells, Darren P. Mundy y James Balentine. "Exploring expressivity and emotion with artificial voice and speech technologies". Logopedics Phoniatrics Vocology 38, n.º 3 (12 de septiembre de 2013): 115–25. http://dx.doi.org/10.3109/14015439.2013.810303.

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BLAKEMORE, DIANE. "Voice and Expressivity in Free Indirect Thought Representations: Imitation and Representation". Mind & Language 28, n.º 5 (31 de octubre de 2013): 579–605. http://dx.doi.org/10.1111/mila.12035.

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Sundberg, Johan, Gláucia Laís Salomão y Klaus R. Scherer. "Emotional expressivity in singing. Assessing physiological and acoustic indicators of two opera singers' voice characteristics". Journal of the Acoustical Society of America 155, n.º 1 (1 de enero de 2024): 18–28. http://dx.doi.org/10.1121/10.0023938.

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In an earlier study, we analyzed how audio signals obtained from three professional opera singers varied when they sang one octave wide eight-tone scales in ten different emotional colors. The results showed systematic variations in voice source and long-term-average spectrum (LTAS) parameters associated with major emotion “families”. For two of the singers, subglottal pressure (PSub) also was recorded, thus allowing analysis of an additional main physiological voice control parameter, glottal resistance (defined as the ratio between PSub and glottal flow), and related to glottal adduction. In the present study, we analyze voice source and LTAS parameters derived from the audio signal and their correlation with Psub and glottal resistance. The measured parameters showed a systematic relationship with the four emotion families observed in our previous study. They also varied systematically with values of the ten emotions along the valence, power, and arousal dimensions; valence showed a significant correlation with the ratio between acoustic voice source energy and subglottal pressure, while Power varied significantly with sound level and two measures related to the spectral dominance of the lowest spectrum partial. the fundamental.

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Cohen, Alex S., Bianca Iglesias y Kyle S. Minor. "The neurocognitive underpinnings of diminished expressivity in schizotypy: What the voice reveals". Schizophrenia Research 109, n.º 1-3 (abril de 2009): 38–45. http://dx.doi.org/10.1016/j.schres.2009.01.010.

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CAHILL, PATRICIA A. "Adrienne Herndon's Homeplaces: Shakespeare and Black Resistance in Atlanta, c.1906". Journal of American Studies 54, n.º 1 (10 de diciembre de 2019): 51–58. http://dx.doi.org/10.1017/s0021875819002019.

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This essay examines the political significance of the career of Atlanta-based Shakespearean Adrienne McNeil Herndon in the early twentieth century. It contextualizes Herndon's writing in the activist journal Voice of the Negro and elucidates the radicalism of Herndon's Shakespeare work at Atlanta University and beyond. More broadly, the essay shows how Herndon's performances and pedagogy – especially her focus on elocution work, bodily expressivity, domestic spaces, and visual culture – repeatedly challenged the white supremacist culture of the Jim Crow South, offering black Americans a way to resist racial terrorism and endure racial trauma.

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Baker, Camille C. "MINDtouch: Embodied Mobile Media Ephemeral Transference". Leonardo 46, n.º 3 (junio de 2013): 221–25. http://dx.doi.org/10.1162/leon_a_00560.

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This article reviews discoveries that emerged from the author's MINDtouch media research project, in which a mobile device was repurposed for visual and non-verbal communication through gestural and visual mobile expressivity. The work revealed new insights from emerging mobile media and participatory performance practices. The author contextualizes her media research on mobile video and networked performance alongside relevant discourse on presence and the embodiment of technology. From the research, an intimate, phenomenological and visual form of mobile expression has emerged. This form has reconfigured the communication device from voice and text/SMS only to a visual and synesthetic mode for deeper expression.

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Alvarez, Anne. "The Therapist’s Voice: Discussion of “Expressivity and Transformation through Language in Work with Serious Disorder”". Psychoanalytic Dialogues 31, n.º 6 (2 de noviembre de 2021): 664–67. http://dx.doi.org/10.1080/10481885.2021.1983371.

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Pajupuu, Hille, Rene Altrov y Jaan Pajupuu. "Towards a vividness in synthesized speech for audiobooks". Eesti ja soome-ugri keeleteaduse ajakiri. Journal of Estonian and Finno-Ugric Linguistics 10, n.º 1 (17 de diciembre de 2019): 167–90. http://dx.doi.org/10.12697/jeful.2019.10.1.09.

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The goal of this study was to determine which acoustic parameters are significant in differentiating the speaking styles of a narrator and that of male and female characters as voiced by a reader of audiobooks. The study was initiated by a need to improve the expressivity and differentiation of speaking styles in fiction books read out by synthesized voices. The corpus used as research material was created from an audio novel, as read by a professional male voice artist. To determine whether it is possible to identify these speaking styles from the voice of the reader, a web-based perception test consisting of 48 sentences was conducted. The results showed that the listeners identified all three styles. For acoustic analysis, the openSMILE toolkit was used and 88 eGeMAPS-defined parameters were extracted for every sentence in the corpus. All styles were differentiated by 38 statistically significant parameters. To improve vividness, synthesizers aimed at reading fiction books could be trained to perform all three styles. Kokkuvõte. Hille Pajupuu, Rene Altrov ja Jaan Pajupuu: Teel audioraamatute sünteeskõne elavdamisele. Uurimuse eesmärk oli teada saada, milli sed olulisemad akustilised parameetrid eristavad audioraamatu lugeja hääles jutustaja kõnet ning mees- ja naistegelaste otsekõnet. Uurimuse tingis vajadus parandada sünteeshäälega loetavate juturaamatute väljendus rikkust ja kõnestiilide eristatavust. Uurimismaterjalina kasutati professionaalse meeshäälega loetud audioromaani „Tõde ja õigus I“ põhjal loodud korpust. Et teada saada, kas audioraamatu lugeja hääle põhjal on kuulaja võimeline eristama eri kõnestiile (jutustaja kõnet, mees- ja naistegelaste otsekõnet), koostati 48 lausest koosnev tajutest. Testi tulemused näitasid, et kuulajad tundsid ära kõik kolm kõnestiili. Akustiliseks analüüsiks kasutati kogu korpuse materjali. openSMILE’i tööriistaga ekstraheeriti kõnest iga lause jaoks 88 eGeMAPSis defineeritud parameetrit. Statistiliselt oluliselt eristasid kõnestiile 38 parameetrit, millest 18 oli seotud hääle kvaliteedi ja tämbriga, 11 hääle valjusega, 8 hääle kõrgusega ja 1 tempoga. Kuna tajutest ja akustiliste parameetrite analüüs näitasid, et audioraamatus eristusid nii jutustaja kõne, naistegelaste otsekõne kui ka meestegelaste otsekõne, võib pidada otstarbekaks õpetada juturaamatuid ettelugevaid süntesaatoreid esitama kõiki kolme kõnestiili. Märksõnad: audioraamatud, kõnestiil, otsekõne, karakteri kõne, GeMAPS, kõneanalüüs, ekspressiivne kõnesüntees

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Torre, Ilaria, Emma Carrigan, Katarina Domijan, Rachel McDonnell y Naomi Harte. "The Effect of Audio-Visual Smiles on Social Influence in a Cooperative Human–Agent Interaction Task". ACM Transactions on Computer-Human Interaction 28, n.º 6 (31 de diciembre de 2021): 1–38. http://dx.doi.org/10.1145/3469232.

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Emotional expressivity is essential for human interactions, informing both perception and decision-making. Here, we examine whether creating an audio-visual emotional channel mismatch influences decision-making in a cooperative task with a virtual character. We created a virtual character that was either congruent in its emotional expression (smiling in the face and voice) or incongruent (smiling in only one channel). People (N = 98) evaluated the character in terms of valence and arousal in an online study; then, visitors in a museum played the “lunar survival task” with the character over three experiments (N = 597, 78, 101, respectively). Exploratory results suggest that multi-modal expressions are perceived, and reacted upon, differently than unimodal expressions, supporting previous theories of audio-visual integration.

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Dumer, Aleksey I., Harriet Oster, David McCabe, Laura A. Rabin, Jennifer L. Spielman, Lorraine O. Ramig y Joan C. Borod. "Effects of the Lee Silverman Voice Treatment (LSVT® LOUD) on Hypomimia in Parkinson's Disease". Journal of the International Neuropsychological Society 20, n.º 3 (13 de febrero de 2014): 302–12. http://dx.doi.org/10.1017/s1355617714000046.

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AbstractGiven associations between facial movement and voice, the potential of the Lee Silverman Voice Treatment (LSVT) to alleviate decreased facial expressivity, termed hypomimia, in Parkinson's disease (PD) was examined. Fifty-six participants—16 PD participants who underwent LSVT, 12 PD participants who underwent articulation treatment (ARTIC), 17 untreated PD participants, and 11 controls without PD—produced monologues about happy emotional experiences at pre- and post-treatment timepoints (“T1” and “T2,” respectively), 1 month apart. The groups of LSVT, ARTIC, and untreated PD participants were matched on demographic and health status variables. The frequency and variability of facial expressions (Frequency and Variability) observable on 1-min monologue videorecordings were measured using the Facial Action Coding System (FACS). At T1, the Frequency and Variability of participants with PD were significantly lower than those of controls. Frequency and Variability increases of LSVT participants from T1 to T2 were significantly greater than those of ARTIC or untreated participants. Whereas the Frequency and Variability of ARTIC participants at T2 were significantly lower than those of controls, LSVT participants did not significantly differ from controls on these variables at T2. The implications of these findings, which suggest that LSVT reduces parkinsonian hypomimia, for PD-related psychosocial problems are considered. (JINS, 2014, 20, 1–11)

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Han, Zhengrui y Hongqiang Zhu. "Stance markers in television news presentation: Expressivity of eyebrow flashes in the delivery of news". Semiotica 2018, n.º 221 (26 de marzo de 2018): 279–300. http://dx.doi.org/10.1515/sem-2016-0138.

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AbstractThe discourse of broadcast news is shifting toward being more “conversational.” As a consequence, rather than assuming the traditional poker-face style of delivering news on television, news readers as televised personae are becoming more “informal” and “dialogic” in order to better relate to audiences. Eyebrow flashes, as a communicative resource in television news presentation, play an important part in construing the expressiveness of presentation and engaging with audiences. Drawing upon insights from nonverbal communication studies (especially the pragmatics of nonverbal communication) and discourse analysis, this paper explores the pragmatics of eyebrow flashes as a marker of expressivity in news delivery, and the interaction of eyebrow flashes with the verbal context, based on data collected from Chinese broadcast news in English. The analysis shows that eyebrow flashes are widely employed to initiate the theme of the agent in news messages (implicating “I know something”), to emphasize the focus of the news statements (implying “I am thinking now”), and to respond to the attributed statement (indicating “I want to know more”). Therefore, eyebrow flashes function to assist viewers in construing alignment with authors or reporters of news, as well as alignment with audiences. In addition, they serve to distill personal emotion to hybridize the institutional voice of news, thus rendering television news more “watchable” and engaging.

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Zeghari, Radia, Alexandra König, Rachid Guerchouche, Garima Sharma, Jyoti Joshi, Roxane Fabre, Philippe Robert y Valeria Manera. "Correlations Between Facial Expressivity and Apathy in Elderly People With Neurocognitive Disorders: Exploratory Study". JMIR Formative Research 5, n.º 3 (31 de marzo de 2021): e24727. http://dx.doi.org/10.2196/24727.

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Background Neurocognitive disorders are often accompanied by behavioral symptoms such as anxiety, depression, and/or apathy. These symptoms can occur very early in the disease progression and are often difficult to detect and quantify in nonspecialized clinical settings. Objective We focus in this study on apathy, one of the most common and debilitating neuropsychiatric symptoms in neurocognitive disorders. Specifically, we investigated whether facial expressivity extracted through computer vision software correlates with the severity of apathy symptoms in elderly subjects with neurocognitive disorders. Methods A total of 63 subjects (38 females and 25 males) with neurocognitive disorder participated in the study. Apathy was assessed using the Apathy Inventory (AI), a scale comprising 3 domains of apathy: loss of interest, loss of initiation, and emotional blunting. The higher the scale score, the more severe the apathy symptoms. Participants were asked to recall a positive and a negative event of their life, while their voice and face were recorded using a tablet device. Action units (AUs), which are basic facial movements, were extracted using OpenFace 2.0. A total of 17 AUs (intensity and presence) for each frame of the video were extracted in both positive and negative storytelling. Average intensity and frequency of AU activation were calculated for each participant in each video. Partial correlations (controlling for the level of depression and cognitive impairment) were performed between these indexes and AI subscales. Results Results showed that AU intensity and frequency were negatively correlated with apathy scale scores, in particular with the emotional blunting component. The more severe the apathy symptoms, the less expressivity in specific emotional and nonemotional AUs was displayed from participants while recalling an emotional event. Different AUs showed significant correlations depending on the sex of the participant and the task’s valence (positive vs negative story), suggesting the importance of assessing male and female participants independently. Conclusions Our study suggests the interest of employing computer vision-based facial analysis to quantify facial expressivity and assess the severity of apathy symptoms in subjects with neurocognitive disorders. This may represent a useful tool for a preliminary apathy assessment in nonspecialized settings and could be used to complement classical clinical scales. Future studies including larger samples should confirm the clinical relevance of this kind of instrument.

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Rachubińska, Klaudia. "“No Time, Make, or Reason”: The Affective Forms of Portishead’s “Only You” Music Video". Kwartalnik Filmowy, n.º 123 (27 de septiembre de 2023): 75–96. http://dx.doi.org/10.36744/kf.1807.

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Sigmund Freud famously distinguished normal mourning and pathological melancholy by the affects’ duration and persistence. This temporal perspective paves the way for reading affect beyond its expressivity and considering it a question of form. In the article, this radical formalist approach is used to examine the way depressive affect manifests itself in the structure of the music video to Portishead’s Only You (dir. Chris Cunningham, 1998), in particular concerning tempo and rhythm. Eugenie Brinkema’s remarks on grief as an affective form marked by heaviness and inertia serve as the basis for analysing tempo. The exploration of rhythm is rooted in Peter Kivy’s assertion that reading musical expression is mediated by understanding the affective properties of the human voice. This makes way for applying Julia Kristeva’s concept of the depressive discourse, understood as a set of particular speech patterns and qualities indicative of depression/melancholy.

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Brenner, Brenda y Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers". Journal of Research in Music Education 61, n.º 1 (7 de marzo de 2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.

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What does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved? In this case study, we explored the beliefs and practices of five teachers who specialized in teaching children to perform in a variety of musical performance areas, including violin, cello, piano, guitar, voice, and musical theater. To discover their pedagogy for teaching musical expressivity, we asked the initial questions, “How do these teachers define musical expression?” “What are the characteristics of an expressive performance for children?” and “Can musical expression be taught to children?” Data were collected through interviews with teachers and students, observations of lessons with children, and archival materials about each teacher’s studio practice. Transcripts of interviews, artifacts, and observed lessons were analyzed through emergent category coding and axial coding, using member checking and negative case analysis. Findings are discussed in relation to extant literature. Implications for teacher training and future research are explored.

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Schlegel, Katja, Johnny R. J. Fontaine y Klaus R. Scherer. "The Nomological Network of Emotion Recognition Ability". European Journal of Psychological Assessment 35, n.º 3 (mayo de 2019): 352–63. http://dx.doi.org/10.1027/1015-5759/a000396.

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Abstract. The ability to recognize other people’s emotions from their face, voice, and body (emotion recognition ability, ERA) is crucial to successful functioning in private and professional life. The Geneva Emotion Recognition Test (GERT; Schlegel, Grandjean, & Scherer, 2014 ) is a new instrument to measure ERA in a more ecologically valid way than previous tests. In this article, we report the results of five studies examining the test’s construct validity with a total N of 1,284. We found that the GERT was highly positively correlated with other performance-based tests measuring ERA and emotional intelligence (EI), as well as with cognitive intelligence. GERT scores were also related to higher self-reported empathy, openness, and neuroticism, and to better social adjustment. Furthermore, higher GERT scores were related to lower anxiety, anger expressivity, and alexithymia. In line with previous findings, women scored higher than men and GERT performance declined with increasing age. Taken together, these results provide considerable evidence for the construct validity of the GERT and for ERA as an adaptive skill that likely facilitates better life outcomes.

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Friede, Susanne A. "Technik der (Selbst-)Klage und Funktionen des Mitleids in den Elegien der Louise Labé". Artes 2, n.º 1 (8 de mayo de 2023): 1–28. http://dx.doi.org/10.30965/27727629-20230001.

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Abstract Lamentation is of utmost importance for the elegy as well as for an elegiac ‘tonality’ in poetry. A closer look at Louise Labé’s three elegies shows, however, that it is the technology of self-lamentation through which the suffering of the lyric Self, that is thematized in the elegies, is expressed in a particular way. Thereby, self-lamentation has different functions – to find comfort, to preserve the memory of the bemoaned and to receive glory through the affect-regulating, self-consolatory expression of suffering that is conveyed by the afflicted voice of the lyric Self. The specific expressivity of the (self-)lamentation excites compassion in the female-coded Model Reader and evokes practices of a compassionate community that is constituted in the extratextual realm. The asymmetrical compassion-relation overlaps also with the Petrarchist discourse. Labé’s elegies create a temporal and emotional continuum of the compassion function that extends from deplorable historical-mythological heroines over the lyric Self to the potentially lamentable group of the Dames Lionnoises and the Model Reader.

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Jiang, Qin. "The image of Oksana in the opera by N. Rimsky Korsakov “Christmas Eve”: a composer plan and a performing embodiment". Aspects of Historical Musicology 18, n.º 18 (28 de diciembre de 2019): 57–72. http://dx.doi.org/10.34064/khnum2-18.04.

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Background. The modern science reconsiders various conceptions, which were influencing the theory and practice of musical art over the centuries. Particularly, there is much talk today about the fact that marking of female opera roles as “coloratura” according to the principle of their technical complexity and diapason wideness is quite nominal and not connected directly with singing voices’ gradation. Gradually entrenched tendency of denial of the female voice’s definition as “coloratura” has developed, and it is based on the argument that this characteristic reflects parameters of composer’s objectives rather than the voice’s nature. Probably, that’s why there are works in repertoire of certain female vocalists (for instance, Maria Callas and contemporary Canadian singer Natalie Choquette), which are usually performed by owners of “different” voices. However one cannot deny the fact that certain opera roles are composed specifically for coloratura soprano, despite the fact that indications of it are missing in manuscripts. N. Rimsky-Korsakov’s opera heritage is exponential in this connection; the destination of particular female roles for coloratura soprano is unquestionable – Snow Maiden, Marfa, Volkhova, Tsaritsa of Shemakha, etc. And though this roles are performed by female vocalists of various voices in today’s theatrical practice, it seems to us that voice’s characteristics have principal significant for appropriate implementation of author’s conception. Objectives. Thus, the purpose of the study is to identify the significance of the voice’s particularity factor as a carrier of a certain imagery in the composer’s conception and in the performer embodiments of opera parts (separated opera arias). Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. Results. The Gogol’s plot became the basis of several operas, the most famous of which are “Cherevichki” (“The Little Shoes”) by P. Tchaikovsky and “Noch’ pered Rozhdestvom” (“Christmas Eve”) by N. Rimsky Korsakov. The comparison of this two works clearly shows the fundamental difference in composers’ conceptions. In P. Tchaikovsky’s interpretation the lyrical line is extracted from the literary primary source. But for N. Rimsky Korsakov the comparison of the real and fantastic world becomes the main thing in this opera. Therefore the role of Vakula is written quite schematically, but Oksana’s image is interesting developed, it is presented in progress – from carefree girl to loving woman. This progress is obvious when comparing Oksana’s Arias from Act I and Act IV. The Aria from Act I is a peculiar synthesis of national and Italian singing traditions, a prime example of entrance aria (di sortita), which presents the character’s portrayal and comprises such basic components as slow introduction and episodes demonstrating technical possibilities of the voice. Oriental intonations, which are specific for composer’s vocal works, coupled with coloraturas, give the impression that Oksana is “not from this world”. According to lots of researchers, the whole N. Rimsky Korsakov’s opera “metacycle” is an artistic integrity united by a generic idea that defined the unity of approach to implementing of “type” (including female) characters. The intonational canvas of every particular role (the choice of so-called intonational complexes – “a cold” or “a warm”) is determined by character’s affiliation with natural or fairy-tale locus. Oksana’s portrayal for N. Rimsky Korsakov has been ambivalent. On the one hand, she doesn’t relate to “another world” like Snow Maiden or Volkhova; on the other hand – Oksana is a fairy-tale character. Therefore composer uses partly the same strokes in the development of the portrayal as for female fairy-tale characters. However, the formation of this character’s personality is revealed through the transformation of “cold” (fairy-tail) intonational complex to “warm” (“alive”). Two performances of the first Oksana’s Aria are briefly reviewed as an example: the concert performance by Gohar Gasparyan, an Armenian lyrical coloratura soprano (1924–2007), and a recording from the Inessa Prosalovskaya’s CD “Arias from operas”, the Russian lyrical dramatic soprano (born in 1947). G. Gasparyan’s idea was to present the portrayal of a young girl of the people. Therefore the singer levels virtuosic components of music material as much as possible, and a coloring of her voice, for which it was easy to sing the second A sharp above middle C, emphasizes lyrical hints of Oksana’s Aria. Also the significant textual cuts becomes one of important parameters of creation of a “gentle” young girl’s portrayal; they not only transform the expanded aria into the form, which is close to a song in scale, but also significantly reduce specifically those snippets, in which technical difficulties are concentrated. Version by I. Prosalovskaya presents another interpretation, original sound of which is largely due to the singer’s timbre of voice. Its deepness, expressivity and completion absolutely modify personal characteristics of the N. Rimsky-Korsakov’s character. Therefore we observe not a young girl already, but a woman – passionate and confident. Thus, it could be concluded that timbre color’s specificity of the voice of female opera singer has a significant impact on features of the character that she embodies. It is obvious that this specificity determines all the parameters of the performer’s version of the composer’s work (both a separate aria and the opera as a whole). A more detailed study of the relationship between the voice timbre and the semantic and compositional decisions characterizing an individual performer style seems to us a promising direction for further research.

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Sumpter, Matt. "Emerging Voices: Shared Frequency: Expressivism, Social Constructionism, and the Linked Creative Writing-Composition Class". College English 78, n.º 4 (1 de marzo de 2016): 340–61. http://dx.doi.org/10.58680/ce201628216.

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This article examines how creative writing pedagogy and composition pedagogy can be put into productive conversation by using expressivism and social constructionism as a shared frequency, allowing for a deepening of the pedagogical options available to teachers. The end result of this analysis is a proposal for a dual course pairing of composition and creative writing. Within this proposed arrangement, creative writing, on the one hand, would emphasize expressivist pedagogies that grant students centrality in the classroom while still exploring the ideological implications of the writing act. Composition, on the other hand, would focus on scholarship, research, and theory, while still employing creative writing activities that keep student writers from feeling utterly marginalized.

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Vaquero-Melchor, Diego y Ana M. Bernardos. "Enhancing Interaction with Augmented Reality through Mid-Air Haptic Feedback: Architecture Design and User Feedback". Applied Sciences 9, n.º 23 (26 de noviembre de 2019): 5123. http://dx.doi.org/10.3390/app9235123.

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Nowadays, Augmented-Reality (AR) head-mounted displays (HMD) deliver a more immersive visualization of virtual contents, but the available means of interaction, mainly based on gesture and/or voice, are yet limited and obviously lack realism and expressivity when compared to traditional physical means. In this sense, the integration of haptics within AR may help to deliver an enriched experience, while facilitating the performance of specific actions, such as repositioning or resizing tasks, that are still dependent on the user’s skills. In this direction, this paper gathers the description of a flexible architecture designed to deploy haptically enabled AR applications both for mobile and wearable visualization devices. The haptic feedback may be generated through a variety of devices (e.g., wearable, graspable, or mid-air ones), and the architecture facilitates handling the specificity of each. For this reason, within the paper, it is discussed how to generate a haptic representation of a 3D digital object depending on the application and the target device. Additionally, the paper includes an analysis of practical, relevant issues that arise when setting up a system to work with specific devices like HMD (e.g., HoloLens) and mid-air haptic devices (e.g., Ultrahaptics), such as the alignment between the real world and the virtual one. The architecture applicability is demonstrated through the implementation of two applications: (a) Form Inspector and (b) Simon Game, built for HoloLens and iOS mobile phones for visualization and for UHK for mid-air haptics delivery. These applications have been used to explore with nine users the efficiency, meaningfulness, and usefulness of mid-air haptics for form perception, object resizing, and push interaction tasks. Results show that, although mobile interaction is preferred when this option is available, haptics turn out to be more meaningful in identifying shapes when compared to what users initially expect and in contributing to the execution of resizing tasks. Moreover, this preliminary user study reveals some design issues when working with haptic AR. For example, users may be expecting a tailored interface metaphor, not necessarily inspired in natural interaction. This has been the case of our proposal of virtual pressable buttons, built mimicking real buttons by using haptics, but differently interpreted by the study participants.

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McGee, Alexis. "Toward a Black Rhetoric of Voicing". College Composition & Communication 75, n.º 2 (1 de diciembre de 2023): 333–59. http://dx.doi.org/10.58680/ccc2023752333.

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This article argues for repositioning voice within BIPOC histories and contributions to the fields of English/rhetoric/composition studies. By reinvestigating the affordances and constraints of Expressivist-driven definitions of “voice” and the contemporary applications of imitation writing assignments, this article demonstrates alternative approaches to teaching and thinking through voice in writingbased courses.

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Lühr, Rosemarie. "The lengthened grade in Germanic hypocoristica". Indogermanische Forschungen 119, n.º 1 (1 de noviembre de 2014): 377–96. http://dx.doi.org/10.1515/if-2014-0019.

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Abstract In Germanic a group of nouns belonging to the n-stems display a long *ē followed by geminate voiced stops, MHG tāpe ‘paw’ (*dēbban-), OHG tāpe, MHG hā(c)ke ‘hook’ (*hēggan-), OHG chrācco ‘uncinus: barb, fuscina: trident’ (*krēggan-), OHG chrāppo ‘aspidius, uncinus: barb’ (*krēbban-), MHG snācke snōcke ‘midge’ (*snēggan-). While Kluge explained geminate voiceless stops as lengthening before *n, he attributed geminate voiced stops to analogy. But the investigation about whether geminate voiceless stops are allowed following long vowels in Proto-Germanic reveals that Kluge’s opinion is indefensible. As sound symbolism and expressivity are present in the Germanic lexicon, it is assumed that mental phenomena caused these sounds. In this regard the status of the long *ē will be clarified. It is postulated that the long vowels in front of geminate voiced stops have the function of reinforcing expressivity by creating this phonetically odd mixture.

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Marzluf, Phillip P. "Diversity Writing: Natural Languages, Authentic Voices". College Composition & Communication 57, n.º 3 (1 de febrero de 2006): 503–22. http://dx.doi.org/10.58680/ccc20065051.

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Though diversity serves as a valuable source for rhetorical inquiry, expressivist instructors who privilege diversity writing may also overemphasize the essential authenticity of their students’ vernaculars. This romantic and salvationist impulse reveals the troubling implications of eighteenth-century Natural Language Theory and may, consequently, lead to exoticizing and stereotyping students’ linguistic performances.

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25

Hurley, Craig R. y Rebecca L. Atkins. "The Effects of Sequence on Expressivity in Solo Singing of Young Voices". Bulletin of the Council for Research in Music Education, n.º 236 (1 de abril de 2023): 7–20. http://dx.doi.org/10.5406/21627223.236.01.

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Abstract Some choral method textbook authors suggest teaching rhythm, pitch, and text first prior to introducing expressive elements (post-expression sequence), while others recommend teaching expressive elements from the beginning alongside rhythm, pitch, and text (infused-expression sequence). The purpose of the current study was to investigate whether the sequence in which a solo singer learns the elements of a song (e.g., rhythm, pitch, text, expression) influences the musical expression (e.g., articulation, dynamics) of their performance in an online setting. Participants included 58 fifth through eighth graders from three elementary schools and three middle schools located in the southeast United States. Participants learned two different songs at home from a digital recording under two different sequences (infused-expression, post-expression). Results showed that when students learned a song using an infused-expression sequence they performed more expressively than students who learned a song using a post-expression sequence. Introducing expressive elements early resulted in a more expressive performance. Implications for the use and benefits of infused-expression sequencing as well as future research will be discussed.

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Sohn, Katherine Kelleher. "Whistlin’ and Crowin’ Women of Appalachia: Literacy Practices since College". College Composition & Communication 54, n.º 3 (1 de febrero de 2003): 423–52. http://dx.doi.org/10.58680/ccc20031490.

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This article represents stories of eight former composition students, Appalachian working class women, who move from silence in the academy to voice in their communities to a more self–confident identity without destroying the community from which they came. The author argues that compositionists need to consider the two–edged nature of literacy; how literacy serves first generation, nontraditional learners; the intergenerational effects of literacy; the importance of expressivist writing as a transition into academic literacy; and the importance of region and class in multicultural conversations.

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27

Davis, Stacey. "Implied Polyphony in the Solo String Works of J. S. Bach: A Case for the Perceptual Relevance of Structural Expression". Music Perception 23, n.º 5 (junio de 2006): 423–46. http://dx.doi.org/10.1525/mp.2006.23.5.423.

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Bach created a sense of counterpoint in his unaccompanied string works by outlining multiple voices within a single instrumental line. In order to better understand the construction and function of this implied polyphony, an analytical system was developed that provides guidelines for determining where transitions between implied voices occur. Two experiments then investigated how implied polyphony affects the perceived aesthetic quality of these pieces. The hypothesis was that Bach used implied polyphony to create “structural expression,” something that would enhance the melody’s appeal without the aid of performer expressivity. Statistical analysis of the results confirmed that passages containing implied polyphony are indeed considered more engaging than those that were recomposed to diminish the sense of counterpoint. Results also suggest, however, that all instances of implied polyphony do not have the same perceptual effect. Listener’s judgments of engagingness were significantly affected when the implied polyphony created simultaneous, linear streams, but not when it created a sense of successive grouping structure.

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Petronijević, Božinka. "PHRASEOLOGISMS IN THE NOVEL MEDEA. VOICES BY CHRISTA WOLF – ORIGINAL AND TRANSLATION. A CONTRIBUTION TO DISTINGUISHING BETWEEN CONSTRUCTIVE PHRASEOLOGY AND TRANSLATOLOGY". Филолог – часопис за језик књижевност и културу 14, n.º 27 (30 de junio de 2023): 236–51. http://dx.doi.org/10.21618/fil2327236p.

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There are relatively few phraselogisms in the novel Medea. Voices by Christa Wolf. They appear mainly as lexicalised verbal phrases, possibly with a verb synonym as a hyperonym; in addition, there are also occasional, non-lexicalised phrase-formatives to find. Their number and structure changes in translations from German into ʻBosnianʼ or the Serbian language; in Medeja. Glasovi, translated by Vahidin Preljević, lexicalised verbal phrases prevail, some of them absolutely equivalent to the lexical units (LU) in the original text, others only partially. In the second, Serbian text, under the same name – Medeja. Glasovi, translated into Serbian by Mirjana Milošević-Wittmann, the number of phraseologisms decreases; instead of verbal phrases as formatives, the author uses verbs which are only partially equivalent to the units in the original text. Compared to V. Preljević’s LU-phrasemes, these are partially synonymous. As a result, the text loses some of its creativity and expressivity.

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29

Chen, Zhen. "Narrative Analysis: An Analysis of Evaluative Devices in Chinese JFL Learners’ Oral Narratives". Theory and Practice in Language Studies 13, n.º 6 (1 de junio de 2023): 1530–37. http://dx.doi.org/10.17507/tpls.1306.22.

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Using the picture book “Frog, where are you?” (Mayer, 1969), this study investigated the frequency and linguistic forms of evaluative devices in narratives elicited from 29 Japanese native speakers and 28 upper-intermediate Chinese learners of Japanese. The findings show that the preferred evaluative devices style differed between Japanese native speakers’ and Chinese learners’ narratives. On the one hand, although Japanese native speakers provided more evaluative devices than Chinese learners of Japanese, the ratio of evaluative clause and evaluative expression was approximately 2:8 in the narratives of both. On the other hand, Japanese native speakers provided evaluative clauses from the characters’ perspectives to create multiple-voiced discourse, and used evaluative expressions such as modality expressions of value judgments to objectify the narration. To the contrary, Chinese learners of Japanese mainly provided information supplements in narrating event clauses, durative-descriptive clauses, and evaluative clauses, adding the expressivity of the language in narratives to ensure that the communication intentions were perceived by the audience.

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30

Puglisi, Floriana. "Sounding the Text: Susan Howe and David Grubbs’s Thiefth". Polish Journal for American Studies, n.º 11 (Autumn 2017) (2023): 327–43. http://dx.doi.org/10.7311/pjas.11/2/2017.06.

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This essay investigates the musico-poetic collaboration between Susan Howe and David Grubbs. Focusing on Thiefth (2005), the first of a CD series that collects Thorow (1987; 1990) and Melville’s Marginalia (1993), it examines the forms, effects, and implications of the two works’ remediation from printed to sonic product. At stake are notions of textuality and voice, as well as issues of margins and marginalization that Howe starts challenging on page. The shift from the written to the aural dimension does in fact intensify the poems’ antirepresentative and anti-narrative drive, extending Howe’s dismantling of the visual frames. As the poet’s selective, anti-expressivist and anti-performative reading increases her textual scattering and fragmentation, foregrounding the sonic and material aspects of language, so does Grubbs’s experimentation with music, sound, and voice manipulation through the use of audio reproduction technology. If the insertion of pre-recorded ambient sounds generates acoustic effects that match the polyvocality and simultaneity of Howe’s visual poems, music amplifies their inherent dissonance and release from the constraints of signification. This intricate web of sonorities does not only defy the authority, stability, and closure of the written texts. It develops an aesthetics of sound that augments Howe’s graphic experimentation and calls for a listening practice that might draw attention to the margins of history and society.

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31

Thompson, Ian. "The Mediation of Learning in the Zone of Proximal Development through a Co-constructed Writing Activity". Research in the Teaching of English 47, n.º 3 (1 de febrero de 2013): 247–76. http://dx.doi.org/10.58680/rte201322712.

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This article develops a theoretical understanding of the processes involved in the co-construction of a written text by a teacher and student from a Vygotskian perspective. Drawing on cultural-historical and sociocultural theories of writing and Vygotsky’s concept of the Zone of Proximal Development (ZPD), this case study of a student and teacher interaction in a UK secondary school examines the social mediation of collaborative activity in the negotiation of meaning.While expressivist process theories of writing focus on the development of the authentic voice of the writer, this article contends that the development of a student’s writing abilities requires active intervention by a teacher within a constructed zone of development. Writing is viewed as a situated activity system that involves a dialectical tension between thought and the act of composition.Finally, the article will argue that the recursive and complex nature of writing development is an integral tool in the learner’s own agency in creating a social environment for development.

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32

Subur, Subur, Mufliha Mufliha, Heru Kurniawan y Musyafa Ali. "Pengembangan Pemahaman Nilai Sosial Anak Usia Dini melalui Membaca Nyaring Buku Dongeng Toki si Kelinci Bertopi Karya Tere Liye". KINDERGARTEN: Journal of Islamic Early Childhood Education 5, n.º 1 (25 de abril de 2022): 81. http://dx.doi.org/10.24014/kjiece.v5i1.13914.

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Reading the loud fairy tale book Toki the Rabbit In Hats by Tere Liye can be done in an effort to develop an understanding of social value for early childhood. This happens because in fairy tales there is always a fun and educational aspect in the development of children's social values. For that, reading the loud fairy tale book Toki the Rabbit Hat by Tere Liye can be done for the purpose of developing an understanding of the social value of early childhood. From there, this research focuses its goal on developing an understanding of social value through proper loud reading activities. The results of the study found that the accuracy of reading aloud toki the Rabbit's Fairy Tale by Tere Liye can be done by paying attention to things: loud and precise pronunciation and pronunciation in reciting sentences that contain social value for early childhood; proper emphasis on the pronunciation of sentences that directly contain social value for early childhood; use appropriate and varied intonation when reciting sentences that contain social value for early childhood; read aloud in a clear and varied voice when reading sentences that contain social values for early childhood; Loud reading is done expressively when reading sentences that contain social values. In this way, the activity of reading the aloud of toki the rabbit's fairy tale book by Tere Liye can be done as a way to develop the social value of early childhood.

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33

Ramachandran, Dhanagopal, R. Suresh Kumar, Ahmed Alkhayyat, Rami Q. Malik, Prasanna Srinivasan, G. Guga Priya y Amsalu Gosu Adigo. "Classification of Electrocardiography Hybrid Convolutional Neural Network-Long Short Term Memory with Fully Connected Layer". Computational Intelligence and Neuroscience 2022 (11 de julio de 2022): 1–10. http://dx.doi.org/10.1155/2022/6348424.

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Electrocardiography (ECG) is a technique for observing and recording the electrical activity of the human heart. The usage of an ECG signal is common among clinical professionals in the collection of time data for the examination of any rhythmic conditions associated with a subject. The investigation was carried out in order to computerize the assignment by exhibiting the issue using encoder-decoder techniques, creating the information that was simply typical of it, and utilising misfortune appropriation to anticipate standard or anomalous information. On a broad variety of applications such as voice recognition and prediction, the long short-term memory (LSTM) fully connected layer (FCL) and the two convolutional neural networks (CNNs) have shown superior performance over deep learning networks (DLNs). DNNs are suitable for making high points for a more divisible region and CNNs are suitable for reducing recurrence types, LSTMs are appropriate for temporary displays, in the same way as CNNs are appropriate for reducing recurrence types. The CNN, LSTM, and DNN algorithms are acceptable for viewing. The complementarity of DNNs, CNNs, and LSTMs was investigated in this research by bringing them all together under the single architectural company. The researchers got the ECG data from the MIT-BIH arrhythmia database as a result of the investigation. Our results demonstrate that the approach proposed may expressively describe ECG series and identify abnormalities via scores that outperform existing supervised and unsupervised methods in both the short term and long term. The LSTM network and FCL additionally demonstrated that the unbalanced datasets associated with the ECG beat detection problem could be consistently resolved and that they were not susceptible to the accuracy of ECG signals. It is recommended that cardiologists employ the unique technique to aid them in performing reliable and impartial interpretation of ECG data in telemedicine settings.

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Kharchenko, Nataliia V. y Inna V. Mysan. "Psycholinguistic Study of the Speech of Older Preschool Children: Specific Features of Understanding the Figurative Meaning of Phrases and their Use in Spontaneous Speech". Scientific Bulletin of Mukachevo State University. Series «Pedagogy and Psychology» 7, n.º 2 (24 de junio de 2021): 25–37. http://dx.doi.org/10.52534/msu-pp.7(2).2021.25-37.

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The acquisition of native language phraseology is important for the speech and mental development of preschool children, because with the help of phraseology children can expressively reproduce a variety of social events in speech, impartially characterise people, their actions and deeds. The purpose of the study was to investigate psycholinguistic features of children's development of operations of understanding figurative meaning of phraseological expressions and their verbalisation in speech. To this end, the authors used methods of assessing the understanding of figurative meaning of proverbs and metaphors, direct interpretation of a word, choosing one variant of meaning from several paraphrases, interviewing children, recording their statements on a voice recorder, and talking to children. The analysis of children's speech was carried out according to the criteria and corresponding indicators: semantic (lexical, metaphorical, conceptual), pragmatic (active use of phrases, correct reproduction, appropriateness of actualisation), expressive-stylistic (evaluative, emotional, figurative speech). Four levels of children's operations of understanding figurative meaning of phraseological expressions and their use in speech were identified: high, sufficient, average, low, each of which correlated with certain psychological and psycholinguistic characteristics. It was found that children acquire phraseology spontaneously, under the influence of the speech of others, and selectively. It has been revealed that preschool children understand the meaning of phraseological units better than they use them in oral speech; the use of phraseological units in spontaneous speech is a more complex speech operation for children than the operation of decoding the figurative meaning of a phraseological unit. However, both the operations of understanding the figurative meaning of phraseological units and the operations of verbalising phraseological units in spontaneous speech require further development. The practical value of the research lies in the development of a diagnostic technique for studying the operations of understanding figurative meaning of phraseological expressions and their use in spontaneous speech in the zone of a child's speech activity and thinking development

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Maftukha, Nina, Ariani Wardhani y Pandan Jati. "LINE AND COLOUR CREATION-ART THERAPY FOR PSYCHOTIC PATIENTS IN THE UILS (UNIT INFORMASI LAYANAN SOSIAL, UNIT OF SOCIAL SERVICE INFORMATION) MERUYA". ICCD 2, n.º 1 (25 de noviembre de 2019): 171–77. http://dx.doi.org/10.33068/iccd.vol2.iss1.160.

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Art Therapy is one of the solutions that might be applied in the movement of pursuing mental health awareness within the Indonesian society. The methods in Art Therapy combine the approaches from art, design and psychology altogether with the other disciplines. One of the examples is the line and colour-creation art therapy. This method might be applied to the patients of mental health disorder such as psychotic. The introduction of line and colour-creation into the art therapy has been inspired by the visual introduction that the infants experience for the very first time. Within the line and colour, there are light intensity, thin and thick line intensity, hand pressure intensity during the sketching activities, emotion intensity that goes after the thick and thin line intensity and also colour intensity altogether with the colour category namely hot, warm and cold. All of these aspects might be benefitted for the recovery process in terms of emotion, self-expression and selfactualization. Then, the line and colour creation-art therapy integrates all kinds of art under comfortable and non judgmental situationin order to facilitate the recovery process of the psychotic patients. To use art expressively means to enter the inner space within an individual’s heart in orderto find the inner feelings and to express these inner feelings in the form of visual art, movement, voice, writings and drama. This process encourages the freedom, the self-understanding, the insight and also trigger the creativity and the transpersonal awareness so that the recovery period might be increased byexpressing the feelings onto a sheet of paper. In this case, the position of art as an existential phenomenon becomes a bridge that unites rite, imagination and fantasy in such a way that other activities might be unable to perform since the objective of art is to represent the significance of an individual’s inner feeling instead of outer appearance. In other words, art might be considered as a symbolic form of human’s feelings. Departing from this elaboration, the researcher would like to initiate the implementation of a Community Service Program in UILS (Unit Informasi Layanan Sosial, Unit of Social Service Information) Meruya Selatan under the authority of Bina Laras Harapan Sentosa 1 Social Homes Cengkareng. The results of the Community Service Program are expected to increase the rate of psychotic patients’ recovery process by means of expression painting therapy for overcoming the mental health disorders.

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Shubina, L. I. "«Actual intoning» in the vocalperforming practice of Tetiana Vierkina (based on the romance repertory)". Aspects of Historical Musicology 17, n.º 17 (15 de septiembre de 2019): 9–33. http://dx.doi.org/10.34064/khnum2-17.01.

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Background. Objectives and methodology of the research. An attempt is made to consider the vocal-performing work of the People’s Artist of Ukraine Tetiana Vierkina in the aspect of the “actual intoning” concept, which was developed in her PhD thesis. “Actual intoning” is interpreted by the researcher not only as the performer’s work, who turned the author’s text into the sound reality, into a living speech utterance, but also as the desire to fill her interpretation with relevant meanings that are significant for the modern era. The scientific work by T. Vierkina, devoted to the problems of intoning, grew out from a generalization of her many years of experience – artistic and pedagogical. However, in the field of view of the musicologists studying the performing art of T. Vierkina, mainly, her pianistic mastery proves to be. However, in Ukraine, as in the cities of Russia, Armenia, Georgia, Belarus, T. Vierkina is also known as a chamber singer, the owner of a very beautiful soprano, a performer with a peculiar manner of singing. Being not as powerful and dense as opera voices, the singer’s voice nevertheless sounds good in large concert halls with the accompaniment of symphony orchestras thanks to her technique of bright, sonorous sound. Having a recognizable, unique timbre, Tetiana Vierkina subordinates it to the tasks of expressively meaningful singing, finds her place among the intellectual type of singers. Two main directions in her vocal repertoire are defined – domestic, classical romance, pop songs of the 19th–20th centuries, on the one hand, and chambervocal music by Kharkiv composers, on the other. The purpose of this article is to consider only one direction in the vocal performing creativity by T. Vierkina related to her romances singing repertoire. The research is based on five romances representing the Pushkin-Glinka era –“You’ll never understand my sadness” by A. Gurilev to the poem of V. Beshentsov, “Don’t wake her at the dawn” by A. Varlamov to the poem of A. Fet, “When minute of the life is hard” to the poem of M. Lermontov – and the “Silver Age” of Russian poetry:“No, he didn’t love” by A. Guercia to the poem of E. Del Preite, in the Russian translation of M. Medvedev and “The Lord’s Ball” by A. Vertinsky to the poem of the author. An analysis of the interpretations of these works is included in the historical context, referring to some other interpretations of their musical text, to reveal the originality of the images and meanings created by T. Vierkina. The features of the artist’s creative formation and the circumstances of her life, which influenced her performing style, are taken into account. Thus, the general scientific methods of historical retrospection, comparison, generalization are used in this work, as well as the complex methodology of analytical musical-theoretical researches that correlated with B. Asafiev’s theory of intonation. Research results. The paper describes main features of the singing art of T. Vierkina, the artist with a beautiful timbre of her voice, which has a wide range capable of covering both soprano and mezzo-soprano. A brief overview of the vocal performance of T. Vierkina as a chamber singer is presented. The role of the Petersburg vocal teacher Raisa Christie, under whose guidance T. Vierkina perfected her singing technique and was supported in her search for an intonationally meaningful manner of singing, is shown. Turning to the analytical material, the author emphasizes means of expressiveness, with the help of which the singer creates completely different images on the basis of five romances. High, penetrating elegiac character of the Glinka type in the work of A. Gurilev is combined with the subtle understanding of the dialogical nature of the romance genre – the singer interprets each verse as an increasingly tense “phase” in her communication with an invisible interlocutor. In the song-romance of A. Varlamov, the singer goes by the parallelism of images of nature and a young beauty. The singer organizes the couplet-stanza form in a three-part composition, where the first and last sections (the nature waking up at sunrise plays with morning colors on the cheeks of a sleeping girl) contrast with the central one, in which the image of the night, the time of love anxieties and longings, dominates. At first, the singer’s voice is distinguished by its primary “instrumentality”, ease and purity of sound, while in the “night scene” it acquires greater density, verbal expressiveness. In the Bulakhov’s elegy, subtle penetration into the composer’s concept, which comes in a certain contradiction with Lermontov’s intent, makes it attractive. The poet reveals the effect of prayer as a process that begins “when minute of the life is hard”, and ends with the liberation of the hero from the burden of doubt. Bulakhov, on the contrary, choosing for the romance a gloomy, mournful tonality in B minor keeps it unchanged throughout the entire work, with the exception of episodic deviation to the parallel major, emphasizing the static contemplation of the image of the hero, who thinks suffering itself as grace, as effort of the soul aspiring to God. When considering the last two romances (“No, he didn’t love” and “The Lord’s Ball”), references were made to the interpretations of other performers, who each in their own time and in their own way updated these works (V. Komissarzhevskaya, N. Alisova, A. Vertinsky, V. Vysotsky and others). T. Vierkina’s versions of the two romances are analyzed. The first one attracts with light associations with the free gypsy style of singing (improvisation, use of the larynx-nasal timbre, changing of the metro-rhythm, compression-stretching, free transitions from tempo slowdowns to accelerated movement, transitions from singing to chanting words, etc.). In the song-arietta by A. Vertinsky, the emphasis is on elegance, intonation of sympathy for the heroine, whose life flew in ghostly dreams. The singer narrates, distancing herself from the heroine, then, seems to transform into her, then comments, rising above the “action”. Conclusions. Works created almost two centuries ago, performed by T. Vierkina, become significant and relevant for her contemporaries. In the romance she emphasizes the richness and depth of emotional experiences, which turns it into a kind of “encyclopedia” and, at the same time, “school of feelings”. This school, according to the singer, is called upon to resist the ever-increasing impoverishment of the emotional life of people in the era of technological progress and the increasing popularity of communications in the virtual space of the Internet. T. Vierkina believes that with the classic romance the art of representing ordinary human feelings in the light of a high ideal, reflecting them openly, sincerely, and confidentially, is a part of our life. Evenings of T. Vyerkina’s romances have always been significant events in the musical life of Kharkiv, which drew the attention of the public. The singer’s desire to “actualize” the genre, make it a “barometer” of the moods of her contemporaries, always find support among admirers of her artistic talent – all the singer’s concert performances end with “mass singing” – performance of some popular romance by all the listeners in the hall.

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37

Halligey, Alexandra. "Emplaced sounding: voice, identity and place in Zadie Smith’s NW". cultural geographies, 14 de junio de 2022, 147447402211044. http://dx.doi.org/10.1177/14744740221104485.

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Through a close reading of Zadie Smith’s portrayal of the character Keisha/Natalie’s voice and relationship to voice in the novel NW, this article considers how people’s speaking, sounding voices are both emplaced (coming from, made by place) and are key place-making acts. This paper argues for how analysing sound in literature might serve sonic geographic interest in the ‘whole’ voice, with all sound’s representational and more-than representational elements. Through its fictional and poetic expressivity the literary offers propositional perspectives on experiences of sound and its material and affectual role in our world making. From this departure point, the paper proceeds to consider the entangled issues of place and identity politics in NW, motivating that a reading or ‘listening’ in terms of voice might offer valuable insights into these concerns. Attending to three moments in NW centred around the character Keisha/Natalie, the paper argues for how human’s speaking voices might enact and contain the complex difficulties in the co-construction of place and personal identity.

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38

Santos, Telma Dias dos y Léslie Piccolotto Ferreira. "The expressiveness in the assessment of the voice professionals communication: a literature review". Revista CEFAC 21, n.º 6 (2019). http://dx.doi.org/10.1590/1982-0216/20192162619.

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ABSTRACT Purpose: to identify, through a critical review of the literature, what are the instruments used to assess the expressiveness of voice professionals and what are the parameters addressed in these instruments. Methods: a literature search was carried out on four platforms: Scopus, Science Direct, SAGE Journals and Medline. The search considered the period from 2006 to 2016 and original articles, theses, dissertations and specialization monographs were considered to compose the sample. Results: 5,295 productions were found in the four databases. Of these, after the filters by title of the production, evaluation of the summary, and content of the article, there were 39 articles with thematic expressiveness and voice professionals of which only seven presented some type of speech-language evaluation instrument that approached expressiveness. Conclusion: five studies presented their instruments in their entirety and of these, two were published in national journals, and none of them were validated. When the expressivity parameters are mentioned, those registered in greater numbers are those related to oral expressiveness. The parameters of nonverbal expressivity are still timid, with the predominant use of three variables, namely facial expression, gestures and posture.

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39

Langley, David W. "Mind, body, and soul: The effects of bodily movement on listeners’ perceptions of choral performances". International Journal of Music Education, 18 de mayo de 2022, 025576142210961. http://dx.doi.org/10.1177/02557614221096153.

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The purpose of this study was to examine what effect performer’s bodily movement may have on listeners’ (N = 103) perceptions of a choral ensemble performance. A 34-voice choir was audio/video recorded performing two different musical excerpts. Each excerpt was recorded twice, once with movement and once without movement, for a total of four audio/video recordings. Additionally, the audio from each of these recordings was isolated and used as a separate stimuli. Participants were presented each stimuli (movement/non-movement, audio only/audio + video), and asked to rate each for expressivity and style. The factor of audio/video was not found to have consistently significant differences in rating. However, there was a consistent interaction effect between these two stimuli, suggesting that both the visual and auditory differences when using movement conversely effected the listeners’ perception. College major did not prove to be a consistent indicator, but membership in a choral ensemble significantly impacted ratings. Implications may include a greater effect of movement when viewed by the listener than simply what can be perceived in the aural stimuli alone. Suggestions for further research include additional study between choral and instrumental music.

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40

ASU, EVA LIINA, HEETE SAHKAI y PÄRTEL LIPPUS. "The prosody of surprise questions in Estonian". Journal of Linguistics, 13 de marzo de 2023, 1–21. http://dx.doi.org/10.1017/s0022226723000014.

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This paper examines the role of prosody in a little-studied type of non-canonical questions: syntactically and lexically canonical interrogative sentences that have been uttered by the speaker in order to express surprise. The study compares Estonian surprise questions with string-identical information-seeking questions elicited by means of context descriptions. The materials comprise 1,008 utterances by 21 speakers. It is concluded that the prosody of the examined utterances has three roles that are relevant to the expression of surprise by ordinary interrogative sentences. First, the enhanced prosodic realisation of the utterances as manifested in a longer duration, a wider pitch range, and a more frequent occurrence of upstepped pitch accents conveys emotional expressivity. Second, lower pitch along with the creaky voice quality signals that the utterances are not canonical questions, while the main prosodic correlate of information-seeking questions is high pitch. Phonological pitch accents and boundary tones, however, are not used to distinguish between surprise questions and information-seeking questions. Third, the nuclear accent placement signals an information structure that is associated with the expression of incongruity or counterexpectation: the focal accent can evoke an alternative (set) that arises from the speaker’s expectations.

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41

Daniali, Hojjat, Mollie A. Ruben y Magne Arve Flaten. "Systematic manipulation of experimenters' non-verbal behaviors for the investigation of pain reports and placebo effects". Frontiers in Psychology 14 (31 de octubre de 2023). http://dx.doi.org/10.3389/fpsyg.2023.1248127.

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ObjectiveNon-verbal behaviors (NBs) of caregivers affect pain reports and placebo effects. However, little experimental research has systematically examined the caregivers' NBs. This study protocol and preparatory study report a systematic manipulation of experimenters' NBs to investigate pain report and placebo effects.MethodsWe propose an experiment in which videotaped experimenters (VEs) conduct a pain stimulation and a placebo treatment study. The VEs express one positively enhanced NB and keep the other NBs neutral. Participants will be randomized to either the positive facial expressions (+FE), tone of voice (+TV), body movement (+BM), or neutral NBs (i.e., neutral condition; NC) of the VEs. As a preparatory study for proof of concept, two groups of NB coders from Norway and the USA separately rated the degree of NBs (eye contact, body postures and movements, and tone of voice), and impressions of dominance and being in charge, positivity, and expressivity from each NB video. The NB videos had construct validity and reliability. The +BM and +FE were rated as more dominant and in charge than the +TV and the NC. The +FE and +BM were rated as the most positive and expressive NBs, respectively.Expected results+FE will have the largest placebo effects on pain and stress levels. However, transmitting the NBs to patients by VEs is challenging. Moreover, controlling for the effects of research assistants present in the testing room is challenging.DiscussionWe propose that caregivers' NBs affect pain reports and placebo effects. Moreover, different NBs elicit different impressions, and a better understanding of the role of caregiver NBs requires more rigorous investigations. Lastly, aiming to investigate the caregiver NBs, the varying degrees of micro-NBs and their effects on the formation of impressions should be considered.

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42

Bessemans, Ann, Maarten Renckens, Kevin Bormans, Erik Nuyts y Kevin Larson. "Visual Prosody Supports Reading Aloud Expressively". Visible Language 53, n.º 3 (13 de octubre de 2021). http://dx.doi.org/10.34314/vl.v53i3.4653.

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Type is not expressive enough. Even the youngest speakers are able to express a full range of emotions with their voice, while young readers read aloud monotonically as if to convey robotic boredom. We augmented type to convey expression similarly to our voices. Specifically, we wanted to convey in text words that are spoken louder, words that drawn out and spoken longer, and words that are spoken at a higher pitch. We then asked children to read sentences with these new kinds of type to see if children would read these with greater expression. We found that children would ignore the augmentation if they weren't explicitly told about it. But when children were told about the augmentation, they were able to read aloud with greater vocal inflection. This innovation holds great promise for helping both children and adults to read aloud with greater expression and fluency.

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43

Hurley, Craig R. y Rebecca L. Atkins. "The Effects of Modeling and Sequence on the Expressivity of Young Voices". Update: Applications of Research in Music Education, 13 de mayo de 2024. http://dx.doi.org/10.1177/87551233241249666.

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Choral method textbooks include various strategies on when and how to introduce expression in song acquisition including vocal modeling. In two previous studies, participants who learned expressive elements early in a song-learning sequence (infused-expression) performed those elements more accurately than those who learned them at the end of the sequence (post-expression). However, the infused-expression sequence had an expressive model throughout, whereas the post-expression sequence had an expressive model only at the beginning and end. The purpose of this study was to remove the modeling variance between sequences. Middle schoolers learned two songs with an expressive model throughout, using two different sequences (infused-expression and post-expression). We found no significant difference in expressive accuracy between sequences. When students learned a song with an expressive model, regardless of sequence, students sang with expression. Teachers should consider always modeling with expression regardless of whether or not the objective of the rehearsal is about expressive elements.

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Renckens, Maarten, Leo De Raeve, Erik Nuyts, María Pérez Mena y Ann Bessemans. "Visual prosody supports reading aloud expressively for deaf readers". Visible Language 55, n.º 1 (24 de septiembre de 2021). http://dx.doi.org/10.34314/vl.v55i1.4603.

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Type is a wonderful tool to represent speech visually. Therefore, it can provide deaf individuals the information that they miss auditorily. Still, type does not represent all the information available in speech: it misses an exact indication of prosody. Prosody is the motor of expressive speech through speech variations in loudness, duration, and pitch. The speech of deaf readersis often less expressive because deafness impedes the perception and production of prosody. Support can be provided by visual cues that provide information about prosody—visual prosody—supporting both the training of speech variations and expressive reading. We will describe the influence of visual prosody on the reading expressiveness of deaf readers between age 7 and 18 (in this study, ‘deaf readers’ means persons with any kind of hearing loss, with or without hearing devices, who still developed legible speech). A total of seven cues visualize speech variations: a thicker/thinner font corresponds with a louder/quieter voice; a wider/narrower font relates to a lower/faster speed; a font raised above/lowered below the baseline suggests a higher/lower pitch; wider spaces between words suggest longer pauses. We evaluated the seven cues with questionnaires and a reading aloud test. Deaf readers relate most cues to the intendedspeech variation and read most of them aloud correctly. Only the raised cue is di#cult to connect to the intended speech variation at first, and a faster speed and lower pitch prove challenging to vocalize. Despite those two difficulties, this approach to visual prosody is elective in supporting speech prosody. The applied materials can form an example for typographers, type designers, graphic designers, teachers, speech therapists, and researchers developing expressive reading materials.

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45

Hasanah, Nurjihan, Tri Saptuti Susiani y Joharman Joharman. "IMPROVEMENT OF SINGING VOICE THROUGH EXPERIENTIAL LEARNING MODEL WITH PIANIKA IN FIFTH GRADE OF SDN 1 BANDUNG KEBUMEN IN ACADEMIC YEAR OF 2019/2020". Kalam Cendekia: Jurnal Ilmiah Kependidikan 8, n.º 1 (3 de julio de 2020). http://dx.doi.org/10.20961/jkc.v8i1.41260.

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<em>The objectives of the research were: (1) to describe the steps of Experiential Learning model with pianika, (2) to describe improvement of students' singing voice, and (3) to analyze the obstacle and solution in applying experiential learning model with pianika in improving students' singing voice. It was a collaborative classroom action research conducted in three cycles. Each cycle consisted of planning, implementation, observation and reflection. The subjects were 32 students and the teacher of fifth grade of SDN 1 Bandung Kebumen. Data collection techniques were observation, interview, and tests. Data analysis was carried out by data reduction, data presentation, and drawing conclusions. The results showed that: (1) the steps to Experiential Learning model with pianika were: a) Concrete Experience, b) Reflective Observation, c) Abstract Conceptualization, and d) Active Experimentation; (2) Experiential Learning model with pianika improved students' singing voice. It was proven by average of mastery learning in singing vocal. There were 71.88% in the first cycle, 79.69% in the second cycle, and 84.38 % in the third cycle; (3) the obstacle was that some students had difficulty in developing expressive performance while they were practicing singing with pianika. The solution to overcome the obstacle was that the teacher encouraged the students by giving examples sing expressively through the meaning of song and stay focused during singing. It concludes that the application of Experiential Learning model with pianika improves students' singing voice in fifth grade of SDN 1 Bandung Kebumen in the academic year 2019/2020.</em>

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46

Hu, Yuhang, Boyuan Chen, Jiong Lin, Yunzhe Wang, Yingke Wang, Cameron Mehlman y Hod Lipson. "Human-robot facial coexpression". Science Robotics 9, n.º 88 (27 de marzo de 2024). http://dx.doi.org/10.1126/scirobotics.adi4724.

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Large language models are enabling rapid progress in robotic verbal communication, but nonverbal communication is not keeping pace. Physical humanoid robots struggle to express and communicate using facial movement, relying primarily on voice. The challenge is twofold: First, the actuation of an expressively versatile robotic face is mechanically challenging. A second challenge is knowing what expression to generate so that the robot appears natural, timely, and genuine. Here, we propose that both barriers can be alleviated by training a robot to anticipate future facial expressions and execute them simultaneously with a human. Whereas delayed facial mimicry looks disingenuous, facial coexpression feels more genuine because it requires correct inference of the human’s emotional state for timely execution. We found that a robot can learn to predict a forthcoming smile about 839 milliseconds before the human smiles and, using a learned inverse kinematic facial self-model, coexpress the smile simultaneously with the human. We demonstrated this ability using a robot face comprising 26 degrees of freedom. We believe that the ability to coexpress simultaneous facial expressions could improve human-robot interaction.

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47

Chin, HyoJin y Mun Yong Yi. "Voices that Care Differently: Understanding the Effectiveness of a Conversational Agent with an Alternative Empathy Orientation and Emotional Expressivity in Mitigating Verbal Abuse". International Journal of Human–Computer Interaction, 10 de noviembre de 2021, 1–15. http://dx.doi.org/10.1080/10447318.2021.1987680.

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Kuliieva, Antonina. "Technical and Expressively Meaningful Functions of "Transitional Tones” and “Primary Tone” in the Context of Vocal-Register Performing Strategy". NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, n.º 3 (31 de octubre de 2022). http://dx.doi.org/10.32461/2226-3209.3.2022.266102.

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The purpose of the study is to determine the technical and expressive functions of “transitional tones” and “primary tone” in vocal art. The methodology is based on the holistic analysis of the performing, teaching experience of prominent singers, teachers, the author's own experience in synergy with the works of musicologists and scholars, used to study the specific functioning of the “transitional tones” and “primary tones” in the structure of the opera part as an artistic whole; performing analysis, aimed at determining the technical specificity of vocal singing in “transitional tones” and “primary tone”, defined as an embodiment of the specific musical content of the “soaring human spirit” over the “prose of life”; a condition for the study of the subject of research is the historical approach, with the support of which the opera singer has to select the appropriate performance-stylistic perspectives of the opera part for the sake of revealing the “artistic truth” of vocalisation. The scientific novelty of the study is due to the identification of the specifics of the synthesis of the doctrine of “transitional tones” and “primary tone”, formed in the Italian and German schools, which have gained importance as a component of the domestic vocal performance; interpretations of the singer's voice as a tool for revealing the artistic content of the musical work in terms of basing on the principle of interaction of the performing registers. Conclusions. The technical and expressive-content functions of “transitional tones” and “primary tone” in the context of vocal-register performing strategy are determined; the significance of “transitional tones” and “primary tone” as representations of the performing musicology in the process of formation of stylistic erudition and technical mastery of vocalists-performers is determined; the experience of performance technique and expressive emotional value of the “transitional tones” and the “primary tone” acquired by the Odessa school of vocal performance has been revealed. Key words: vocal performance, opera singing, “transitional tones”, “primary tone”, vocal-register strategy.

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49

Hatten, Robert S. "Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A minor and the Last Two Dances of Schumann’sDavidsbündlertänze". Music Theory Online 20, n.º 4 (diciembre de 2014). http://dx.doi.org/10.30535/mto.20.4.5.

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Schenkerian analysis gives priority to structural harmonic and voice-leading closure in tonal works, but composers have found other ways to simulate (and dissimulate) structural closure for dramatically expressive purposes. After a brief look at an example by Beethoven (the coda to the first movement of op. 2, no. 1), I focus on interpreting closure in two Romantic piano pieces. In his Prelude in A minor, op. 28, no. 2, Chopin plays with three different closural gambits: dissolution to silence, a false Picardy third close on the dominant, and a final V7–i cadence in A minor. The latter two options are also marked by shifts in level of discourse, and may suggest two commentaries (beatific consolation vs. tragic desolation) on the funereal trajectory of the work. In the penultimate dance of hisDavidsbündlertänzeop. 6, Schumann achieves both thematic and tonal closure, complete with the cyclic return of waltz no. 2 and a passionately tragic coda suggestive of Florestan. But he expressively undercuts that strong closure to allow Eusebius the last word. The final waltz (no. 18) overflows not only its own formal boundaries, but also the formal closure of the set implied by no. 17, reversing the tragic coda to achieve a transcendently positive epiphany. I propose and illustrate performance options that can help project the expressive closural dramas in these two works by Chopin and Schumann.

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50

Loh, Cassandra. "Logical Coding & Emotional Poetry: An exploration of poetic expression in the digital". Rangahau Aranga: AUT Graduate Review 1, n.º 1 (13 de abril de 2022). http://dx.doi.org/10.24135/rangahau-aranga.v1i1.47.

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This practice-oriented design research investigates opportunities for meaningful poetic expression within a digital medium. It hypothesises that the digital medium offers more opportunities for personal expression than in traditional print as poetry can become dynamic with animation, interactivity, and discovery. However, these come with added complexities. This project sits within digital poetry but borrows ideas from other realms of knowledge and practice, such as aesthetic expressivism (Collingwood, 2017) and hypertext (Landow, 2006). The practice focuses on testing, reflecting, and articulating the poetic expression present in three distinct characteristics of the digital environment: ephemerality, hidden content, and non-linearity. These characteristics are further investigated through prototypes, where the research tests techniques that reflect their qualities to create poetic experiences. Within this project, the researcher takes on two roles: the poet and the designer. The former brings expressive and subjective lenses, while the latter introduces objectivity and attention to technical skills. At times, these artistic and technical voices felt dissonant, however there were glimpses of their symbiosis during the practice. Arguably, finding ways to encourage this symbiosis can ensure greater synergy and meaningful connections between the poem and its form. To investigate this further, the research explores when poetic writing occurs in relation to choosing techniques of the medium. Within this presentation, I will map and discuss explored workflows used for approaching digital poetry that consider both the outlined characteristics of the medium and the relationship between artistic and technical voices in practice. It is believed that without a clear understanding of what the digital space could offer, a poem could have no difference in its reading experience from its traditional form, or it could become jarring and meaningless.

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