Letteratura scientifica selezionata sul tema "Processeurs vocaux"
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Articoli di riviste sul tema "Processeurs vocaux":
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SNOWDON, CHARLES T. "Affiliative Processes and Vocal Development". Annals of the New York Academy of Sciences 807, n. 1 Integrative N (gennaio 1997): 340–51. http://dx.doi.org/10.1111/j.1749-6632.1997.tb51931.x.
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Thoresen, Lasse. "THE CONCRESCENCE PROJECT (2008–2010): IDEAS, PROCESSES, EXPERIENCES, MUSICAL WORKS". Tempo 68, n. 267 (gennaio 2014): 7–21. http://dx.doi.org/10.1017/s0040298213001290.
Abstract (sommario):
AbstractThis article discusses the concept, working practices and outcomes of the Concrescence Project, a research project initiated by the author oriented towards innovations in vocal practice and composition through experiments with combining vocal techniques from different cultures. The concept of ethnomodernism is explored, as are different attitudes to vocal sound production in a variety of musical traditions including the avant-garde, traditional styles from the Nordic/Baltic region, and overtone singing. The article concludes with a discussion of microtonal tunings, their notation, and their implementation in vocal composition.
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Fahey, Hannah. "Stylistic pluralism and the experiences of classically trained teachers of singing in the Republic of Ireland". International Journal of Music Education 39, n. 3 (2 febbraio 2021): 301–12. http://dx.doi.org/10.1177/0255761421991247.
Abstract (sommario):
Throughout much of the 20th century, the Western classical vocal aesthetic dominated tertiary singing training in the Republic of Ireland. At the turn of the 21st century, and reflecting similar movements internationally, Irish institutions, examining boards and private teaching studios diversified to include musical theatre and popular styles of singing in degree programmes and syllabi. The purpose of this study was to further understand voice teacher perceptions of these shifts in pedagogical culture. This research questioned how classically trained teachers of singing negotiate teaching across styles in popular music genres, and also questioned if implicit, embodied cultural ideas about classical singing defined their educative approaches to popular music vocals. Data were collected through in-depth qualitative interviews with classically trained teachers of singing in the Republic of Ireland. Analysis of interview data revealed a number of themes which are discussed within a theoretical framework drawn from the work of Bourdieu, revealing that the participant teachers are involved in processes of negotiation and re-negotiation of personal and institutional habitus.
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Stoeger, Angela S., Anton Baotic e Gunnar Heilmann. "Vocal Creativity in Elephant Sound Production". Biology 10, n. 8 (5 agosto 2021): 750. http://dx.doi.org/10.3390/biology10080750.
Abstract (sommario):
How do elephants achieve their enormous vocal flexibility when communicating, imitating or creating idiosyncratic sounds? The mechanisms that underpin this trait combine motoric abilities with vocal learning processes. We demonstrate the unusual production techniques used by five African savanna elephants to create idiosyncratic sounds, which they learn to produce on cue by positive reinforcement training. The elephants generate these sounds by applying nasal tissue vibration via an ingressive airflow at the trunk tip, or by contracting defined superficial muscles at the trunk base. While the production mechanisms of the individuals performing the same sound categories are similar, they do vary in fine-tuning, revealing that each individual has its own specific sound-producing strategy. This plasticity reflects the creative and cognitive abilities associated with ‘vocal’ learning processes. The fact that these sounds were reinforced and cue-stimulated suggests that social feedback and positive reinforcement can facilitate vocal creativity and vocal learning behavior in elephants. Revealing the mechanism and the capacity for vocal learning and sound creativity is fundamental to understanding the eloquence within the elephants’ communication system. This also helps to understand the evolution of human language and of open-ended vocal systems, which build upon similar cognitive processes.
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Woodson, Gayle E., Arne Hengesteg, Daniel Yeung, Clark A. Rosen e Naidy Chen. "Changes in Length and Spatial Orientation of the Vocal Fold with Arytenoid Adduction in Cadaver Larynges". Annals of Otology, Rhinology & Laryngology 106, n. 7 (luglio 1997): 552–55. http://dx.doi.org/10.1177/000348949710600703.
Abstract (sommario):
Videoendoscopy suggests that arytenoid adduction (AA) surgery not only medializes the paralyzed vocal fold, but increases the length of its membranous portion so that it more closely resembles the normal side. This could represent either real length change or out-of-plane rotation. Computed tomography scanning was performed on adult male cadaver larynges before and after the AA procedure to measure changes in length and spatial orientation of the vocal fold. Three-dimensional coordinates of radiopaque markers on the anterior commissure, posterior glottic midline, and vocal processes were determined. The distance between the vocal processes was 3.9 mm before, and 0.8 mm after AA. The mean vocal fold length was 12.4 mm before, and 13.4 mm after AA (p = .14). The vocal process moved consistently caudally, an average of 3.5 mm (p = .02). The data suggest that clinically apparent vocal fold length changes with AA could be an illusion due to vertical displacement of the vocal process, and not actual lengthening.
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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special". Aspects of Historical Musicology 21, n. 21 (10 marzo 2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.
Abstract (sommario):
The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of meaning expression, takes the stage forms of representation, supplemented with various visual and acoustic effects and comes out to the stadium spaces with audience of many thousands. For the first time, the article proposes a systematization of those dialectical processes that were resulted in vocal rock stylistics and determined its fundamental pluralism – verballinguistic and musical-intonation, combined with social indication characteristic of rock aesthetics The article supports the idea, that vocal stylistics is a two-component concept in which two levels of terminological generalization are combined – general (“stylistics” as a set of techniques and methods, by which a music composition is created) and specific (“vocal”, which is determined by the genus of the music and its performers as a functional basis of genre). Any stylistic phenomenon, despite its concreteness, is characterized by the qualities of a meta-system, which is reflected in such concepts as “historical stylistics”, “genre stylistics”, “national stylistics” (E. Nazaikinsky). The specific stylistics, derived from the “style of any kind of music” (V. Kholopova), has the same qualities. Among them there is the vocal style which is associated with the musical implementation of the speech line, including such different forms of intonation as recitative, declamation, cantilena, also the song itself as a musical genre that incorporates all the features of “musical speech” (B. Asafiev). Therefore, the song, as the primary genre in the system of vocal intonation, was produced in the syncretism of playful forms of musical art, which included music, dance, and ritual (J. Huizinga). Keeping the quality of “conservatism” (O. Sokolov), the song on the way of its historical and evolutionary development acquired wide range of forms, being performed in different stylistic conditions and in different genre interpretations. The most general unification of multiformity of the song culture is the theory of three layers (V. Konen), in each of which it is presented as primary vocal intonation. However, despite its general origins, arising from the formula “a voice is a person” (E. Nazaikinsky), vocal art within each of the three layers – folklore, academic and the “third” – is distinguished by a number of specific features. A certain differentiation is also observed within each stratum, which also applies to the “third”, which is distinguished as something middle between folklore and academic. In the most general terms, “non-academic” vocals are distributed between such types of “third” music (V. Syrov) as jazz, rock and pop music. This article offers a comparative characteristic of the peculiarities of the varietyized forms of vocal style in rock music and jazz. Along with the general aesthetic, communicative and technological aspects, significant differences are observed here. The main one is the dominance of the vocal beginning in rock music and instrumental in jazz. At the same time, having emerged on a semi-folklore basis, as well as under the influence of entertaining forms of dance youth music of the 50s of the last century (rock & roll, youth protest songs, soul, funk, etc.), rock music has developed its own system of vocal intonation, which is distinguished by: 1) the priority of word over the music; 2) a special approach to improvisation, the role of which is less significant in rock compositions than in instrumental jazz (the exception is scat improvisation); 3) the tendency towards the revival of the genre of “poems with music”, which is peculiar to the academic song culture of Europe in the late 19th – early 20th centuries. The article proves that the “whateverism” of rock (V. Zinkevich) is not only in the variety in the “intonemas”, which are used in it (E. Barban), but also in all kinds of “splitting” of the vocal and the instrumental rock compositions into genre and stylistic subspecies. Acceleration of the processes of assimilation and modification of the intonation complexes, due to the system of musical mass culture, allows observation, since the second half of the XX century, the different hybrid varieties (jazz-rock, folk-rock, etc.) and the relatively new forms of vocal and speech music (freestyle, fusion) making with the connection of dance and theatrical components (disco, hip-hop, rap, R&B). On this basis, the vocal rock style is formed, which, however, has its own specifics. It always tends to the synthesis of music and words, and the word is often a priority and defines the ideology of rock as of a system of ideological and artistic communication. Based on the abovementioned, the conclusions are about the presence of processes of dialectical interaction in the vocal style of rock of the general (patterns of vocal sound, forms of the relations between music and word, genre origins of prototypes) and the special (their realization, at the level of aesthetics and poetics, – rock as a “way of thinking” and “lifestyle”, according to V. Zinkevich). It is noted, that the study of these processes supposes referring to specific samples – styles and compositions of rock bands confessing different points of view due to their art and the role of the vocal component in it. As the perspective, the national aspects of vocal rock stylistics need the studying, including such a little researched one as the Ukrainian.
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Sato, Kiminori, e Minoru Hirano. "Fine Three-Dimensional Structure of Pericytes in the Vocal Fold Mucosa". Annals of Otology, Rhinology & Laryngology 106, n. 6 (giugno 1997): 490–94. http://dx.doi.org/10.1177/000348949710600609.
Abstract (sommario):
An investigation was carried out to determine the fine three-dimensional structure of pericytes in excised human vocal fold mucosa, by means of scanning and transmission electron microscopic observation. The results are summarized as follows. 1) There were many pericytes around the true capillaries, arterial capillaries, and venous capillaries in the vocal fold mucosa. 2) Newborns had pericytes around the capillaries in the vocal fold mucosa. 3) The pericytes had bulged fusiform or polygonal cell bodies and branching processes. The branching processes consisted of long and relatively thick longitudinal ones and short circumferential ones. 4) The cell body and processes of the pericytes encircled the capillaries, and the tips of the processes formed intercellular tight junctions with endothelial cells and made a firm connection with them. 5) The pericytes had many cytoplasmic filaments. 6) The pericytes in the vocal fold mucosa appeared to support and protect capillary walls in the vibrating tissue.
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McGettigan, Carolyn, e Sophie Kerttu Scott. "Voluntary and involuntary processes affect the production of verbal and non-verbal signals by the human voice". Behavioral and Brain Sciences 37, n. 6 (dicembre 2014): 564–65. http://dx.doi.org/10.1017/s0140525x13004123.
Abstract (sommario):
AbstractWe argue that a comprehensive model of human vocal behaviour must address both voluntary and involuntary aspects of articulate speech and non-verbal vocalizations. Within this, plasticity of vocal output should be acknowledged and explained as part of the mature speech production system.
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Zan, Luiza, e Stela Drăgulin. "Vocal Improvisation – A Cognitive and a Psychological Process". Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (10 agosto 2023): 207–18. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.13.
Abstract (sommario):
"The purpose of this article is to compare the neurophysiological processes of the brain during vocal improvisation and the psychological implications of a spontaneous composition of melody. By taking command of the present, while at the same time bringing forward to the audience an extensive amount of musical knowledge and specific vocal techniques, vocal improvisation is an extensive field of interest for jazz singers and jazz voice educators alike, and its distinct processes are yet to be fully understood and explained. In my years of studying and practicing vocal improvisation, I have sought to understand the balance between these two components – the cognitive and the psychological coordinates of the vocal improvisation and the implications of these coordinates on our everyday life, outside the performing arts frame. The reasons why a singer makes certain musical choices when creating spontaneously, while avoiding others, together with the reasons why improvisation is important in our everyday lives, these reasons make the object of this study. Keywords: vocal improvisation, spontaneous creation, psychological process"
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Heisel, Erin. "Empathy as a Tool for Embodiment Processes in Vocal Performance". Empirical Musicology Review 10, n. 1-2 (8 aprile 2015): 104. http://dx.doi.org/10.18061/emr.v10i1-2.4601.
Abstract (sommario):
One way of understanding empathy in music performance is as a process by which singers closely identify with the characters they encounter and portray in opera or art song. As singers embody these characters, they literally give them voice. Musical performance thus humanizes characters as well as performers and audiences as deeper, empathetic engagement may also reflect or elicit new pathways of growth, knowledge, and understanding. What is the process a singer goes through in empathizing with a character? How can young singers learn to empathize with the characters they are tasked with portraying, even when they may find the characters or their behavior to fall outside of their own moral convictions? This paper posits that empathy is a necessary part of the role preparation process for singers and introduces the “role journal” as a way for young singers to track embodiment processes and develop healthy habits of empathy and boundaries in their work.
Tesi sul tema "Processeurs vocaux":
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Almeida, Dos Santos Douglas. "Développement d'un processeur durci sur architecture RISC-V pour applications en environnement sévère". Electronic Thesis or Diss., Université de Montpellier (2022-....), 2023. http://www.theses.fr/2023UMONS089.
Abstract (sommario):
Cette thèse explore le développement et la caractérisation du processeur HARV et de sa version HARV-SoC, spécifiquement conçus pour fonctionner dans des environnements hostiles. Elle commence par mettre en évidence les défis posés par les environnements hostiles, en particulier l'impact des radiations sur les dispositifs et systèmes électroniques. La thèse classe les environnements hostiles en environnements spatiaux, atmosphériques et artificiels, chacun ayant ses caractéristiques uniques.Dans les environnements de radiations artificielles, différentes installations expérimentales sont décrites, fournissant différents spectres de particules, notamment des neutrons, des protons et des champs mixtes. La thèse se penche sur les effets des radiations sur les dispositifs électroniques, couvrant les effets cumulatifs tels que la dose ionisante totale (TID) et les dommages par déplacement (DD), ainsi que les événements uniques entraînant des erreurs et des défaillances système.La recherche introduit l'architecture d'ensemble d'instructions (ISA) RISC-V en tant qu'architecture de processeur largement adoptée, connue pour son format d'instruction régulier, son décodage d'instructions économique et sa flexibilité modulaire. La thèse souligne l'importance de la fiabilité dans l'utilisation des processeurs dans des environnements hostiles et discute des techniques de détection et de correction d'erreurs, notamment la redondance spatiale, temporelle et informationnelle.Reconnaissant l'utilisation croissante des processeurs RISC-V dans des applications critiques, la thèse propose un résumé des travaux connexes, positionnant HARV-SoC dans le contexte des derniers développements. Elle se penche ensuite sur la mise en œuvre de HARV, la version initiale du processeur, mettant en avant la tolérance aux fautes au niveau de la microarchitecture. La protection des registres à l'aide de codes correcteurs d'erreurs et de la redondance modulaire triple est mise en évidence.Les travaux se poursuivent avec le développement d'un SoC à architecture multi-cycles, permettant des applications plus complexes tout en conservant des périphériques essentiels. Des simulations d'injection de fautes sont réalisées pour analyser de manière exhaustive les modèles de fautes. Pour préparer HARV-SoC aux expériences dans les accélérateurs de particules, des mécanismes d'observabilité sont introduits, permettant une analyse détaillée des erreurs au sein du processeur, en particulier avec les radiations neutroniques.Reconnaissant les limites des compteurs d'erreurs, un gestionnaire d'erreurs est mis en œuvre pour stocker temporairement des informations sur les erreurs détectées. Ces informations sont signalées aux applications via des exceptions, facilitant l'analyse détaillée des erreurs et les réponses. La conception est soigneusement caractérisée et évaluée dans le cadre d'expériences impliquant différents environnements de radiations.L'analyse s'étend aux tests des systèmes d'exploitation et à l'utilisation de techniques de récupération logicielle. En conclusion, la thèse offre une exploration complète des processeurs tolérants aux radiations pour les environnements hostiles, fournissant des informations précieuses et des techniques pour améliorer la fiabilité et les performances du système dans des situations exigeantesThis thesis explores the development and characterization of the HARV processor and its HARV-SoC version, specifically designed for operation in harsh environments. It begins by highlighting the challenges posed by harsh environments, particularly the impact of radiation on electronic devices and systems. The thesis categorizes harsh environments into space, atmospheric, and artificial radiation environments, each with its unique characteristics.In the artificial radiation environments, various experimental facilities are described, which provide different particle spectra, including neutrons, protons, and mixed fields. The thesis delves into the radiation effects on electronic devices, covering cumulative effects like total ionizing dose (TID) and displacement damage (DD), as well as single events leading to errors and system failures.The research introduces the RISC-V Instruction Set Architecture (ISA) as a widely adopted processor architecture known for its regular instruction formatting, cost-effective instruction decoding, and modular flexibility. The thesis emphasizes the importance of reliability in using processors in harsh environments and discusses techniques for error detection and correction, including spatial, temporal, and information redundancy.Acknowledging the increasing use of RISC-V processors in critical applications, the thesis summarizes related work, positioning HARV-SoC in the context of the latest developments. It then delves into the implementation of HARV, the initial version of the processor, emphasizing microarchitecture-level fault tolerance. Register protection using error-correcting codes and triple modular redundancy is highlighted.The work extends to developing an SoC with a multi-cycle architecture, allowing for more complex applications while maintaining essential peripherals. Fault injection simulations are conducted to analyze fault models comprehensively. Observability mechanisms are introduced to prepare HARV-SoC for experiments in particle accelerators, enabling a detailed analysis of errors within the processor, particularly with neutron radiation.Recognizing the limitations of error counters, an error handler is implemented to temporarily store information about detected errors. This information is reported to applications through exceptions, facilitating detailed error analysis and responses. The design is thoroughly characterized and evaluated in experiments involving various radiation environments.The analysis expands to testing operating systems and using software recovery techniques. In conclusion, the thesis comprehensively explores radiation-tolerant processors for harsh environments, providing valuable insights and techniques to enhance system reliability and performance in challenging scenarios
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Craciun, Alexandru. "Implémentation d'une méthode robuste de détection d'activité vocale sur le processeur de signal TMS320C6711 /". Montréal : École de technologie supérieure, 2004. http://wwwlib.umi.com/cr/etsmtl/fullcit?pMQ96931.
Abstract (sommario):
Thèse (M. Ing.)--École de technologie supérieure, Montréal, 2004."Mémoire présenté à l'École de technologie supérieure comme exigence partielle à l'obtention de la maîtrise en génie électrique". Bibliogr.: f. [164]-167. Également disponible en version électronique.
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Craciun, Alexandru. "Implémentation d'une méthode robuste de détection d'activité vocale sur le processeur de signal TMS320C6711". Mémoire, École de technologie supérieure, 2004. http://espace.etsmtl.ca/713/1/CRACIUN_Alexandru.pdf.
Abstract (sommario):
Un algorithme de détection d'activité vocale (VAD) est un algorithme capable de discriminer entre les régions où la parole est absente dans le signal vocal analysé.
Le VAD est un module important utilisé dans une large gamme d'applications dans le domaine du traitement de la parole comme la reconnaissance, la transmission ou le rehaussement de la parole.
La nature non-stationnaire ainsi que la grande variété de signaux vocaux et de bruits de fond dans les conditions où on n'a pas d'informations a priori sur la nature ou le niveau du bruit rendent ce problème difficile spécialement dans le cas d'un faible rapport signal bruit RSB.
Bien que le problème de détection d'activité vocale ait été étudié depuis plusieurs décennies, une solution optimale ne s'est pas encore imposée. De nombreux algorithmes qui utilisent une large gamme de paramètres, certains d'entre-eux présentés dans cet ouvrage, ont été proposés pour répondre aux problèmes pratiques rencontrés.
Dans cet ouvrage on a implémenté sur le processeur numérique de signal TMS320C7611 un nouvel algorithme robuste de VAD qui utilise le concept d'analyse court-terme. La décision pour chaque trame de signal est fournie en temps-réel. Les distorsions spectrales, par rapport au spectre du bruit de fond, sont assimilées à des régions de parole et sont évaluées à l'aide de deux paramètres: le coefficient de corrélation spectrale et la moyenne de RSB de sous-bandes. Le filtrage médian et une approche statistique originale sont utilisés pour la détection robuste des régions de parole.
Pour évaluer les performances de l'algorithme proposé, on a utilisé un signal vocal de test complexe qui présente plusieurs régions de parole et de silence, corrompu avec plusieurs types de bruits réels dans le cas de trois RSB différentes. Les résultats de tests montrent le comportement robuste de l'algorithme proposé.
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Schmidt, Emanuel. "Communication processes in jazz performance". Thesis, Sydney Conservatorium of Music, 2005. http://hdl.handle.net/2123/13718.
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Greenwood, Taylor Eugene. "Silicone 3D Printing Processes for Fabricating Synthetic, Self-Oscillating Vocal Fold Models". BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8395.
Abstract (sommario):
Synthetic, self-oscillating vocal fold (VF) models are physical models whose life-like vibration is induced and perpetuated by fluid flow. Self-oscillating VF models, which are often fabricated life-size from soft silicone elastomers, are used to study various aspects of voice biomechanics. Despite their many advantages, the development and use of self-oscillating VF models is limited by the casting process used to fabricate the models. Consequently, this thesis focuses on the development of 3D printing processes for fabricating silicone VF models. A literature review is first presented which describes three types of material extrusion 3D printing processes for silicone elastomers, namely direct ink writing (DIW), embedded 3D printing, and removable-embedded 3D printing. The review describes each process and provides recent examples from literature that show how each has been implemented to create silicone prints. An embedded 3D printing process is presented wherein a set of multi-layer VF models are fabricated by extruding silicone ink within a VF-shaped reservoir filled with a curable silicone support matrix. The printed models successfully vibrated during testing, but lacked several desirable characteristics which were present in equivalent cast models. The advantages and disadvantages of using this fabrication process are explored. A removable-embedded 3D printing process is presented wherein shapes were fabricated by extruding silicone ink within a locally-curable support matrix then curing the silicone ink and proximate matrix. The printing process was used to fabricate several geometries from a variety of silicone inks. Tensile test results show that printed models exhibit relatively high failure strains and a nearly isotropic elastic modulus in directions perpendicular and parallel to the printed layers. A set of single-material VF models were printed and subjected to vibration testing. The printed models exhibited favorable vibration characteristics, suggesting the continued use of this printing process for VF model fabrication. A micro-slicing process is presented which is capable of creating gcode for 3D printing multiple materials in discrete and mixed ratios by utilizing a previously-sliced single-material shape and a material definition. An important advantage of micro-slicing is its ability to create gcode with a mixed-material gradient. Initial test results and observations are included. This micro-slicing process could be used in material extrusion 3D printing
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Tragtenberg, Lucila Romano. "Processos de criação da interpretação vocal em rede". Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/4491.
Abstract (sommario):
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Previous issue date: 2012-12-03The creation processes of interpretation performed by singers-performers within the Western classical music constitute the subject of this work. We investigated the hypothesis that their work has the dimension of creation as transcreation being constituted by it in instances of relational communication as well, we address the problem of its theoretical and methodological description and interpretation. We aimed to highlight aspects of those significant theoretical and critical processes, their connections to create relational networks. The process of creating the vocal interpretation are incommunicable, restricted to only those who develops, associated to the idea of musical performance that does not include the aspect of creation. This thesis aims to contribute in reversing this situation increasing the methodological bias that in musicology, has privileged hearing recordings and also increase knowledge about these processes, configuring the vocal Interpretation in their processuality creative networks. The methodology and theoretical framework taken as support in the Critical Process Networks and Creation in the work of Cecilia Salles, were called to the dialogue with aspects of Peirce's theory of perception, the concept of the biosemiotics Umwelt developed by J. Von Uexküll and Vincent Colapietro on semiotic self. Urged still on reciprocity as relational instance, were still connected the concepts of miscegenation or mestizaje in the work of Amalio Pinheiro, Laplantine & Nouss and aspects of the theory of ecological perception of James Gibson. Creation and transcreation yet been discussed in connection to the work of Haroldo de Campos. The material obtained in interviews with the sopranos Adelia Issa, Rosana Lamosa, Ruth Staerke, the tenor Fernando Portari and the bass-baritone Licio Bruno, performers-singers active in Brazil and international musical circle, were developed to describe and analyze theoretical and critical job creation procedural performers-singers, systematizing instances of their creative processes. The perceptual dimension of sensation was evident recurrently correlated to the instance chamber music referenced in vocal and scenic subtleties
Os processos de criação da interpretação, realizados pelos intérpretes-cantores no âmbito da música erudita ocidental, constituem-se no tema desta pesquisa. Investiga-se a hipótese de que seu trabalho possui a dimensão da criação como transcriação sendo por ela constituído em instâncias de comunicação relacionais, bem como, abordamos o problema de sua descrição e interpretação teórico-metodológica. Objetiva-se evidenciar aspectos teórico-críticos significativos daqueles processos, suas conexões em redes de criação relacionais. Os processos de criação da interpretação vocal se encontram em situação de incomunicabilidade, restritos apenas a quem os desenvolve, associados à ideia de execução musical que não contempla o aspecto da criação. Esta tese busca contribuir na reversão de tal situação, ampliando o viés metodológico que, na musicologia, tem privilegiado audição de gravações e ainda, ampliar o conhecimento acerca desses processos, configurando a Interpretação vocal em sua processualidade em redes criativas. À metodologia e referencial teórico tomados como sustentação na Crítica de Processos e Redes da Criação na obra de Cecilia Salles, foram chamados ao diálogo aspectos da teoria da percepção peirceana, o conceito de Umwelt da biosemiótica desenvolvido por J. Von Uexküll e self semiótico em Vincent Colapietro. Instados ainda na reciprocidade como instância relacional, foram conectados os conceitos de mestiçagem na obra de Amálio Pinheiro, Laplantine & Nouss e aspectos da teoria da percepção ecológica de James Gibson. Criação e transcriação foram discutidos ainda, em conexão com a obra de Haroldo de Campos. Do material obtido nas entrevistas realizadas com as sopranos Adelia Issa, Rosana Lamosa, Ruth Staerke, o tenor Fernando Portari e o baixo-barítono Licio Bruno, intérpretes-cantores atuantes no meio musical brasileiro e internacional, foram desenvolvidos tópicos de descrição e análise teórico-crítica do trabalho processual de criação dos intérpretescantores, sistematizando instâncias de seus processos criativos. A dimensão perceptiva da sensação se evidenciou de modo recorrente, correlacionada à instância da música de câmara referenciada em sutilezas vocais e cênicas
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Pereira, Daiana Felix. "A educação musical: o saber corporal aprendido por meio da educação/técnica vocal para bailarinos contemporâneos". Universidade do Vale do Rio dos Sinos, 2012. http://www.repositorio.jesuita.org.br/handle/UNISINOS/3308.
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Esse trabalho investiga o processo de educar a voz de bailarinos contemporâneos por meio da educação corporal e vocal. Problematiza a questão vocal e busca entender o ensino da dança e da música que, historicamente desmembrou o corpo de quem aprende. Relaciona a essa problematização à formação na dança contemporânea com todos os desafios relacionados à manutenção da dominação masculina. Reconstrói a trajetória histórica da dança, entrelaçando-a com questões de gênero que trazem alguns conceitos como: a educação do corpo como processo do movimento e as questões da sexualidade interpretadas na dança como sentimentos eróticos. Além desse estudo teórico, a dissertação compõe dois ensaios: o primeiro inaugura um entre-ato por meio de uma análise sobre o V capítulo da obra de Rousseau (1712- 1778), "Emílio ou Da Educação, propondo uma possível dança entre Emílio e Sofia. E o segundo ensaio diz respeito a gravação com bailarinas e cantores exercitando o uso do corpo e da voz simultaneamente a fim de perceber os processos implicados nessa articulação. A dissertação aponta para uma nova linguagem e uma pedagogia da união entre a dança e a voz: artes essencialmente do corpo. É possível uma união entre as duas artes, destacando a questão da voz, bem como as questões do corpo como um todo.
This work investigates the process of educating the voice of contemporary dancers through vocal and body movement education. It seeks to understand how teaching dance and music historically disassociate itself from the body of the learner. Related to this question of contemporary dance training methods is also the question of gender roles and in particular that of male dominance. This thesis examines the historical trajectory of dance, weaving in issues of gender in relation to concepts such as education of the body, and the process of movement, as well as the topic of sexuality and how dance is often interpreted in terns of erotic feelings. This theoretical study looks at two essays in depth: the first is an analysis of Rousseau’s Chapter V (1712 - 1778), "From Emile, or Education, proposing a possible dance between Emilio and Sofia. The second essay is concerned with recording dancers and singers who train to use their body and voice simultaneously and aim to understand the processes involved that connect these two forms. This paper points to a new language and pedagogy that highlights the relationship and union between dance and voice, and the body as an art.
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Gray, Anne-Marie. "Vocal music of the Anglo-Boer War (1899-1902) insights into processes of affect and meaning in music /". Thesis, Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-10062004-131944/.
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Vasconcelos, Emerson Adriano Gomes. "Magdalena Lébeis e o registro sistemático de um processo pedagógico: algumas análises". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-151843/.
Abstract (sommario):
Magdalena Lébeis registrou sistematicamente em seis cadernos de aulas, durante um período compreendido entre 1937 e 1955, as 1006 aulas de canto que fez com Vera Janacópulos. Este trabalho traz a transcrição completa dos manuscritos do vol. 1 dos Cadernos de Aulas de Canto de Magdalena Lébeis. Propõe análises iniciais a propósito da abordagem, tanto de Lébeis, quanto de Janacópulos, de elementos técnicos e interpretativos no estudo do canto, contidos no relato sistemático, de próprio punho, de Lébeis, utilizando diferentes fontes da bibliografia sobre pedagogia vocal e especialmente os conceitos expressos por Richard Miller. Procurou-se também contextualizar o desenvolvimento da carreira de Lébeis nas questões sócio-musicais que orbitavam no cenário musical paulistano, durante os anos contemplados pelo depoimento manuscrito de Magdalena Lébeis. Optou-se pela não sistematização das análises, por se entender que seriam necessárias ferramentas de análise adequadas, cujo desenvolvimento pertenceria a outro projeto de estudo.Magdalena Lébeis systematically recorded in six notebooks the content of 1006 singing lessons that she took with Vera Janacópulos between 1937 and 1955. This paper presents the first volume of the manuscripts Cadernos de Aulas de Canto de Magdalena Lébeis. It proposes an initial analysis of how Lébeis as well as Janacópulos approached the technical and interpretive elements in the study of singing which is thoroughly described in Lébeis\'s account. Besides her manuscripts we have also made use of a considerable literature on vocal pedagogy and especially the concepts expressed by Richard Miller. We also sought to contextualize Lébeis career development within the social and musical scene that was revolving in São Paulo back then. It has been opted for a non-systematic analysis because we understand that a different one would require appropriate and diverse arguments and that would belong to another project.
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Clark, Stephen J. "The intuitive and the intellectual : aspects of personal compositional voice and its complex and intuitive processes in relation to astronomical observations and elementary and advanced performers". Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/38730.
Abstract (sommario):
This dissertation explores the complex and intuitive elements of the author’s musical compositions. It investigates the concept of a composer’s ‘compositional voice’ by looking at the aesthetic and compositional techniques that are used to express it. In particular, it looks at the author’s expression of astronomy through his music, along with its realisation through both advanced and elementary performers. The aesthetic is examined by looking at astronomy and its relation to music. It observes the intricate ways that concepts to do with astronomy can be expressed through music, as well as the instinctive act of self-expression that arises from emotionally engaging with these astronomical concepts. The techniques used by the author to express these aesthetical ideas are generally found to be either complex or intuitive, and in turn can result in music that is difficult or simple. The complex techniques are found to be mostly process-based, using canons and subtractive and additive repetition in a similar manner to Olivier Messiaen, Steve Reich and György Ligeti. The intuitive techniques are made of instinctive creative decisions and use elements of performer improvisation and aleatory.
The performer is the physical manifestation of the compositional voice; this relationship is developed through the application of both advanced and elementary performer techniques are used to reflect the author’s engagement with complexity and intuition. Due to their advanced technique, the advanced performer is found to be especially fit to realise the multilayered processes. These processes are used by composer Brian Ferneyhough, who appears to use the notion of ‘difficulty’, especially in terms of notation, as being an aesthetic technique itself. Other composers, including Johann Sebastian Bach, Béla Bartók and Benjamin Britten have written music for elementary performers. Furthermore, Britten and Peter Maxwell Davies have also written pieces for ensembles that include both advanced and elementary performers. All of these pieces that involve elementary performers have generally been found to be written either with the intention of being a didactic tool or with the intention of contributing to the composer’s immediate community. The aim in my aesthetic, however, is to combine the complex and intuitive aesthetic with both advanced and elementary performers towards a compositional voice that can embrace the elementary within complex processes. In short, the music aims towards being not only a service to the community but also an elementary-complex compositional voice capable of being relevant to the composer’s astronomy-related aesthetic. An analysis of the author’s compositions reveals evidence of the collaboration between complexity and intuition in the astronomy-related aesthetic, which is complexly realised in Messier 7 and intuitively realised in Stellar Meditations and Celestial Dances. It can also be found in the complex techniques in Celestial Shadows and the intuitive techniques used in the first two movements of Pale Blue Dot, and the interaction between the elementary and advanced performers that occurs in the IONS suite.
Libri sul tema "Processeurs vocaux":
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Cavicchio, Federica, e Emanuela Magno Caldognetto, a cura di. Aspetti emotivi e relazionali nell'e-learning. Florence: Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-833-8.
Abstract (sommario):
This book investigates the role of emotions and multimodal communication in face-to-face teaching and in e-learning, and assesses the incidence of these not merely verbal components on the cognitive processes of the student. It also presents certain types of man-machine interface that utilise natural language in written, vocal and multimodal form; the latter implement a new metaphor of interaction with the computer that is more human-oriented. This is, therefore, a new and interdisciplinary theme of research that highlights the technical and theoretical complexity that e-learning specialists and scholars of multimodal communication and emotions address in order to devise new systems of human-computer communication that are more natural and more motivating for learning.
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Curry, Samuel Silas. Lessons in Vocal Expression: Course I. Processes of Thinking in the Modulation of the Voice. Creative Media Partners, LLC, 2018.
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Webster Jr., Murray, e Lisa Slattery Walker, a cura di. Unequals. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197600009.001.0001.
Abstract (sommario):
This book presents current theory development and empirical research on how status and expectation processes structure interaction. Chapters describe the development and current state of knowledge on these processes, relations to other group processes such as social exchange and stigma processes, and applications to elementary education and business organizations. Recent research is summarized on how status differences—which are culturally created and maintained—affect interaction, estimates of ability and social worth, and many other behaviors and impressions. Chapters describe the most recent research developing theory, empirical settings, and new techniques for testing theory, including vocal frequencies and brain wave activity, as well as relations to other theories. Theoretically grounded applications to school classrooms and business organizations show the practical utility of these theories of group processes.
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Goetze, Mary. Repertoire as Pedagogy. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.18.
Abstract (sommario):
Including music from a wide range of cultures calls for choral directors to rethink the common practices employed in most choral rehearsals, and to open themselves to a world of new procedures within rehearsals and performances. Since few directors are also ethnomusicologists, these new practices may also impact the role the director plays in the rehearsals. This chapter challenges directors to define their reasons for including vocal music from outside the western art tradition. Directors should consider alternative processes for finding repertory, presenting it to the ensemble, and sharing it. They need to address challenges singers meet when matching vocal timbres and movement that are concomitant with multicultural musical traditions. Finally they must blend consistent choices with repertory that reflects cultural diversity.
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Provine, Robert R. Beyond the Smile. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190613501.003.0011.
Abstract (sommario):
With the expectation that innovation, insight, and discovery will come from researching neglected topics, this chapter explores human instincts, including yawning, laughing, vocal crying, emotional tearing, coughing, nausea and vomiting, itching and scratching, and changes in scleral color. The critical change approach is exploited to analyze recently evolved, uniquely human traits (e.g., human-type laughter and speech, emotional tearing, scleral color cues) and compare them with thir primate antecendents, seeking the specific neurological, glandular, and muscular processes responsible for their genesis. Particular attention is paid to contagious behaviors, with the anticipation that they may reveal the roots of sociality and empathy. Few of these curious behaviors are traditionally considered in the context of facial expression or emotion, but they deserve recognition for what they can contribute to behavioral neuroscience and social biology.
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Russell, James A., e Jose Miguel Fernandez Dols, a cura di. The Science of Facial Expression. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190613501.001.0001.
Abstract (sommario):
Organized in eleven thematic sections, The Science of Facial Expression offers a broad perspective of the “geography” of the science of facial expression. It reviews the scientific history of emotion perception and the evolutionary origins and functions of facial expression. It includes an updated compilation on the great debate around Basic Emotion Theory versus Behavioral Ecology and Psychological constructionism. The developmental psychology and social psychology of facial expressions is explored in the role of facial expressions in child development, social interactions, and culture. The book also covers appraisal theory, concepts, neural and behavioral processes, and lesser-known facial behaviors such as yawing, vocal crying, and vomiting. In addition, the book reflects that research on the “expression of emotion” is moving towards a significance of context in the production and interpretation of facial expression The authors expose various fundamental questions and controversies yet to be resolved, but in doing so, open many sources of inspiration to pursue in the scientific study of facial expression.
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I'Anson, Mileece. Form, Chaos, and the Nuance of Beauty. A cura di Roger T. Dean e Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.33.
Abstract (sommario):
In general, musical forms iterate from axioms of pitches and intervals organized by a set of principles, yet when describing music as ‘desirable’ or ‘effective’, we are pointing not to its form, but to our experience of it. In successful music, the composer moves the listener through a series of emotive states in some sense predetermined by the composer, but that are not reducible to the patterns and principles. The argument in this chapter concerns what makes some music capable of eliciting ‘exaltation’ rather than a routine response. Designing chaos into the musical patterns themselves is proposed as one such route. The author uses the evolution of the stochastic processes underlying her ‘aesthetic sonification’ of natural systems and the vocal variabilities of Emma Kirkby and Amy Winehouse to elucidate her thoughts on how chaos can interact with musical forms. Growth in natural systems, while still engaging with ‘choreographed chaos’ has particularly motivated the author.
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Heyman, Barbara B. Samuel Barber. 2a ed. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.001.0001.
Abstract (sommario):
Samuel Barber (1910–1981) was one of the most important and honored American composers of the twentieth century. Writing in a great variety of musical forms—symphonies, concertos, operas, vocal music, chamber music—he infused his works with poetic lyricism and gave tonal language and forms new vitality. His rich legacy includes such famous compositions as the Adagio for Strings, the orchestral song Knoxville: Summer of 1915, three concertos, and his two operas, the Pulitzer Prize–winning Vanessa and Antony and Cleopatra, a commissioned work that opened the new Metropolitan Opera House at Lincoln Center in New York. Generously documented by letters, sketchbooks, original musical manuscripts, and interviews with friends, colleagues, and performers with whom he worked, this book covers Barber’s entire career and all of his compositions. The biographical material on Barber is closely interspersed with a discussion of his music, displaying Barber’s creative processes at work from his early student compositions to his mature masterpieces. The book also provides the social context in which this major composer grew: his education; how he built his career; the evolving musical tastes of American audiences; his relationship with Gian Carlo Menotti and such musical giants as Serge Koussevitzky, Arturo Toscanini, Vladimir Horowitz; and the role of radio in the promotion of his music. A testament to the significance of neo-Romanticism, Samuel Barber stands as a model biography of an important American musical figure.
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Matijas-Mecca, Christian. The Words and Music of Brian Wilson. Praeger, 2017. http://dx.doi.org/10.5040/9798216038351.
Abstract (sommario):
A fascinating study of Brian Wilson's creative career as a composer, producer, performer, and collaborator that addresses all aspects of Brian's five-decade-long music career through his creative methods and processes. The cofounder and central figure of one of America's most successful vocal groups, The Beach Boys, Brian Wilson is a standout artist with an astonishing volume of diverse work spanning over half a century that serves as testament to his creative output and influence on modern music. Today, Wilson stands as a survivor of life challenges stemming from substance abuse and mental illness and enjoys a revitalized career in which he continues to create new works and perform around the world to enthusiastic audiences in sold-out venues. This unique book covers the breadth of Wilson's creative life as composer, producer, performer, and collaborator, not only as a Beach Boy, but also as a solo artist and collaborator with artists such as Jan and Dean, The Honeys, Spring, The Castells, and The Hondells. The book also surveys his less-examined work as a performer of the music of George Gershwin, of the songs from Disney films, and of children's books and movies. Because of its breadth, The Words and Music of Brian Wilson will appeal both to dedicated and casual fans alike of The Beach Boys and of Brian Wilson as well as to scholars in popular music and American studies.
Capitoli di libri sul tema "Processeurs vocaux":
1
Duggan, Bláithín. "Paralanguage and Inter-Song Thematic Processes". In The Beatles and Vocal Expression, 139–64. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003323006-7.
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Todt, Dietmar. "Serial Calling as a Mediator of Interaction Processes: Crying in Primates". In Primate Vocal Communication, 88–107. Berlin, Heidelberg: Springer Berlin Heidelberg, 1988. http://dx.doi.org/10.1007/978-3-642-73769-5_6.
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Roelofs, Ardi. "Modeling the attentional control of vocal utterances:". In The Routledge International Handbook of Psycholinguistic and Cognitive Processes, 144–59. 2a ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003204213-11.
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de Mello, Claudia Berlim, Thiago da Silva Gusmão Cardoso e Marcus Vinicius C. Alves. "Social Cognition Development and Socioaffective Dysfunction in Childhood and Adolescence". In Social and Affective Neuroscience of Everyday Human Interaction, 161–75. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-08651-9_10.
Abstract (sommario):
AbstractSocial cognition refers to a wide range of cognitive abilities that allow individuals to understand themselves and others and also communicate in social interaction contexts (Adolphs, Curr Opin Neurobiol 11(2):231–239, 2001). According to Adolphs (Annu Rev Psychol 60(1):693–716, 2009), social cognition deals with psychological processes that allow us to make inferences about what is happening inside other people—their intentions, feelings, and thoughts. Although the term can be defined in many ways, it is clear that it must be safeguarded for the mental operations underlying social interactions. The most investigated cognitive processes of social cognition are emotion recognition and theory of mind (ToM), given that a whole range of socio-affective and interpersonal skills, such as empathy, derive from them (Mitchell RL, Phillips LH, Neuropsychologia, 70:1–10, 2015). Theory of mind is an intuitive ability to attribute thoughts and feelings to other people, and this ability usually matures in children in preschool age (Wellman HM, The child’s theory of mind. Bradford Books/MIT, 1990), whereas emotional recognition refers to an individual’s ability to identify others’ emotions and affective states, usually based on their facial or vocal expressions, it is a critical skill that develops early and supports the development of other social skills (Mitchell RL, Phillips LH, Neuropsychologia, 70:1–10, 2015).
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"Singing and social processes". In Vocal Authority, 158–89. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9780511470226.010.
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"Mechanisms and proximate processes of vocal communication". In Animal Vocal Communication, 161–227. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139167901.006.
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Johnstone, Tom, Carien M. Van Reekum, e Klaus R. Scherer. "Vocal Expression Correlates of Appraisal Processes". In Appraisal Processes in Emotion, 271–84. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195130072.003.0015.
Abstract (sommario):
Abstract The study of vocal expression of emotion has long been in the shadow of co pious work on facial expression. Yet there have been quite a number of studies in this area, particularly in the last few decades. Overviews of the empirical studies in this area have documented some consistencies both in the acoustical encoding of expressed emotions in speech and in the way such acoustic emotional markers are de coded by listeners, but there remain numerous discrepancies and an overall lack of replication. Many of these problems seem to be due to insufficient attention to the differences between emotions belonging to the same family (e.g., rage and irritation) and to the problems of disentangling the activation/intensity and valence/quality dimensions (Banse & Scherer, 1996; Frick, 1985; Johnstone & Scherer, 2000; Murray & Amott, 1993; Scherer, 1986a).
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Baptista, Luis F., Douglas A. Nelson e Sandra L. L. Gaunt. "Cognitive Processes in Avian Vocal Acquisition". In Animal Cognition in Nature, 245–73. Elsevier, 1998. http://dx.doi.org/10.1016/b978-012077030-4/50061-1.
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Dippong, Joseph, e Will Kalkhoff. "Modeling Small Group Status and Power Dynamics Using Vocal Accommodation". In Advances in Group Processes, 51–74. Emerald Publishing Limited, 2018. http://dx.doi.org/10.1108/s0882-614520180000035003.
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Tragtenberg, Lucila Romano. "Vocal transcreation processes, remote and face-to-face teaching". In PATHWAYS TO KNOWLEDGE: EXPLORING THE HORIZONS OF EDUCATION. Seven Editora, 2023. http://dx.doi.org/10.56238/ptoketheeducati-009.
Abstract (sommario):
We approach hybrid forms of creation in process with students from PUC-SP, from the pandemic until now. The objective is to reflect on experiences of creating interpretation in voice and singing, together with technological resources, after the pandemic. We dialogue with the transcreation in H. de Campos and resources from the Critique of Processes by C. Salles. This resulted in recordings in Audacity, emphasizing vocal dynamics. We conclude that the hybridity of remote and presential provided the emphasis on realization of vocal dynamics.
Atti di convegni sul tema "Processeurs vocaux":
1
Heim, Axel, Uli Sorger e Florian Hug. "Doppler-variant modeling of the vocal tract". In ICASSP 2008. IEEE International Conference on Acoustic, Speech and Signal Processes. IEEE, 2008. http://dx.doi.org/10.1109/icassp.2008.4518580.
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Mantha, S., L. Mongeau e T. Siegmund. "Dynamic Digital Image Correlation of a Dynamic Physical Model of the Vocal Folds". In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-81457.
Abstract (sommario):
An experimental study of the vibratory deformation of the human vocal folds was conducted. Experiments were performed using model vocal folds [1, 2], Fig. 1, made of silicone rubber implemented into an air supply system, Fig. 2. The material used to cast the model is an isotropic homogeneous material, [3] with a tangent modulus E=5 kPa at ε = 0, i.e. elastic properties similar to those of the human vocal fold cover [4]. The advantages of the use of model larynx systems over the use of excised larynges include easy accessibility to fundamental studies of the vocal fold vibration without invasive testing. Acoustic analysis of voice or electroglottography provide certain insight into voice production processes but optical techniques for the study of vocal fold vibrations have drawn considerable attention. Videoendoscopy, stroboscopy, high-speed photography, and kymography have shown to provide a visual impression of vocal fold dynamics but are limited in providing insight into the fundamental deformation processes of the vocal folds. Quantitative measures of deformation have been conducted through micro-suture techniques but are invasive and allows for measurements of only view image points. Laser triangulation is non-invasive but is limited to only one local measurement point. Here, digital image correlation technique with the software VIC 3D [5] is applied. For the experimental set-up see Fig. 2. The analysis consists of (1) stereo correlation to obtain in-plane displacements and (2) stereo triangulation step to obtain out-of-plane deformation. For the stereo correlation images of the object at two different stages of deformation are compared. A point in the image of the undeformed object is matched with the corresponding point in the deformed stage. “Subsets” of digital images are traced via their gray value distribution from the undeformed reference image to the deformed image. The uniqueness of the matching is enabled by the creation of a speckle pattern on the object’s surface. Here, a white pigment is mixed into the silicone rubber and subsequently black enamel paint is sprayed onto the superior surface of the vocal folds. The stereo triangulation requires two images of the object at each stage of deformation. These are obtained in a single CCD frame by placing a beam splitter in the optical axis between camera and object. These images provide a “left” and “right” view of the model larynx. Thus, the deformed shape of the vocal folds can be obtained. The method allows for noninvasive measurement of the full-field displacement fields. Images of the superior surface of the model larynx are obtained by the use of a high speed digital camera with a frame rate of 3000 frames per second allowing for more than 30 image frames for each vibration cycle. For the 3D digital image correlation analysis two images of the object are obtained for each time instance as a beam splitter is placed in the optical axis between the camera and the model larynx. Phonation frequencies and onset pressure are given in Fig. 3, showing that the model larynx behavior is close to actual physiological data. Figs 4(a) and (b) provide superior views of the model larynx at maximum glottal opening and at glottal closure, respectively. As one example of measured strain fields, Figs 5(a) and (b) depict the distributions of the transverse strain component, on the glottal surface in a contour plot on the deformed superior surface. The knowledge of the distribution of this strain component is relevant to the assessment of the impact of vocal fold collision on potential tissue damage. In the position of maximum opening the vocal folds are deformed by a combination of a bulging-type deformation and the opening movement. At this time instance, the transverse strains at the medial surface are found to be negative, an indication of Poisson’s deformation. During the closing stage, vocal folds collide and simultaneously a mode 3 vibration pattern emerges. Closure of the glottal opening is not complete and two incomplete closure areas are formed during the closure stage. These open areas are located at the anterior and posterior ends of the model larynx, see Fig. 4(b). The finding of this type of incomplete closure is agreement with both actual glottal measurements [6] and 3D finite element simulations of [7]. Transverse strains during that stage are now positive and considerably larger that during the opening stage. Finally, Fig. 6 depicts the time evolution of the out of plane displacements along the medial surface for the closing phase and Fig. 7 depicts the maximum values of the longitudinal strain (at the coronal section of the medial surface) in dependence of the flow rate. These examples of measurements indicate that the DIC method is promising for studies of vocal fold dynamics.
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Kawashima, Takuya, e Keita Watanabe. ""Ah-aloud": Method for Evaluating Cognitive Processes Occurring During Tasks from Vocal Information". In 2022 8th International HCI and UX Conference in Indonesia (CHIuXiD). IEEE, 2022. http://dx.doi.org/10.1109/chiuxid57244.2022.10009797.
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Kopczyński, Bartosz, Paweł Strumiłło e Ewa Niebudek-Bogusz. "Computer based quantification of normal and pathological vocal folds phonatory processes from laryngovideostroboscopy". In 2015 Federated Conference on Computer Science and Information Systems. IEEE, 2015. http://dx.doi.org/10.15439/2015f276.
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Mower, Emily, Sungbok Lee, Maja J. Mataric e Shrikanth Narayanan. "Human perception of synthetic character emotions in the presence of conflicting and congruent vocal and facial expressions". In ICASSP 2008. IEEE International Conference on Acoustic, Speech and Signal Processes. IEEE, 2008. http://dx.doi.org/10.1109/icassp.2008.4518081.
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Oliveira, Vinicius César, e José Henrique Padovani. "Mapping, Triggering, Scoring, and Procedural Paradigms of Machine Listening Application in Live-Electronics Compositions". In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19445.
Abstract (sommario):
Since the advent of real-time computer music environments, composers have increasingly incorporated DSP analysis, synthesis, and processing algorithms in their creative practices. Those processes became part of interactive systems that use real-time computational tools in musical compositions that explore diverse techniques to generate, spatialize, and process instrumental/vocal sounds. Parallel to the development of these tools and the expansion of DSP methods, new techniques focused on sound/musical information extraction became part of the tools available for music composition. In this context, this article discusses the creative use of Machine Listening and Musical Information Retrieval techniques applied in the composition of live-electronics works. By pointing out some practical applications and creative approaches, we aim to circumscribe, in a general way, the strategies for employing Machine Listening and Music Information Retrieval techniques observed in a set of live-electronics pieces, categorizing four compositional approaches: namely, mapping, triggering, scoring, and procedural paradigms of application of machine listening techniques in the context of live-electronics music compositions.
Rapporti di organizzazioni sul tema "Processeurs vocaux":
1
Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, agosto 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
Abstract (sommario):
Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.