Literatura científica selecionada sobre o tema "Sound repetitions"
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Artigos de revistas sobre o assunto "Sound repetitions"
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Simchy-Gross, Rhimmon, and Elizabeth Hellmuth Margulis. "The sound-to-music illusion." Music & Science 1 (January 1, 2018): 205920431773199. http://dx.doi.org/10.1177/2059204317731992.
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The speech-to-song illusion tracks a perceptual transformation across repetitions where a stimulus that originally sounded like speech comes to sound like song. This article examines whether the illusion also generalizes to other kinds of nonspeech sounds. Participants heard each of 20 environmental sound clips repeated in either original or jumbled form. They rated the musicality of the clips on a 5-point scale where 1 represented sounds exactly like environmental sound and 5 sounds exactly like music. Average ratings increased significantly across repetitions, suggesting that the speech-to-song illusion is one form of a more general sound-to-music illusion produced by repetition. This illusion occurred regardless of whether the clips were repeated in original or jumbled form, marking a difference compared to speech, for which the illusion only occurred if the repetitions were exact.
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Ringer, Hanna, Erich Schröger, and Sabine Grimm. "Neural signatures of automatic repetition detection in temporally regular and jittered acoustic sequences." PLOS ONE 18, no. 11 (2023): e0284836. http://dx.doi.org/10.1371/journal.pone.0284836.
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Detection of repeating patterns within continuous sound streams is crucial for efficient auditory perception. Previous studies demonstrated a remarkable sensitivity of the human auditory system to periodic repetitions in unfamiliar, meaningless sounds. Automatic repetition detection was reflected in different EEG markers, including sustained activity, neural synchronisation, and event-related responses to pattern occurrences. The current study investigated how listeners’ attention and the temporal regularity of a sound modulate repetition perception, and how this influence is reflected in different EEG markers that were previously suggested to subserve dissociable functions. We reanalysed data of a previous study in which listeners were presented with sequences of unfamiliar artificial sounds that either contained repetitions of a certain sound segment or not. Repeating patterns occurred either regularly or with a temporal jitter within the sequences, and participants’ attention was directed either towards the pattern repetitions or away from the auditory stimulation. Across both regular and jittered sequences during both attention and in-attention, pattern repetitions led to increased sustained activity throughout the sequence, evoked a characteristic positivity-negativity complex in the event-related potential, and enhanced inter-trial phase coherence of low-frequency oscillatory activity time-locked to repeating pattern onsets. While regularity only had a minor (if any) influence, attention significantly strengthened pattern repetition perception, which was consistently reflected in all three EEG markers. These findings suggest that the detection of pattern repetitions within continuous sounds relies on a flexible mechanism that is robust against in-attention and temporal irregularity, both of which typically occur in naturalistic listening situations. Yet, attention to the auditory input can enhance processing of repeating patterns and improve repetition detection.
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Lebrun, Yvan, and John Van Borsel. "Final sound repetitions." Journal of Fluency Disorders 15, no. 2 (1990): 107–13. http://dx.doi.org/10.1016/0094-730x(90)90037-s.
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Kubit, Benjamin M., Christine Deng, Adam Tierney, and Elizabeth H. Margulis. "Rapid Learning and Long-term Memory in the Speech-to-song Illusion." Music Perception: An Interdisciplinary Journal 41, no. 5 (2024): 348–59. http://dx.doi.org/10.1525/mp.2024.41.5.348.
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The speech-to-song illusion is a perceptual transformation in which a spoken phrase initially heard as speech begins to sound like song across repetitions. In two experiments, we tested whether phrase-specific learning and memory processes engaged by repetition contribute to the illusion. In Experiment 1, participants heard 16 phrases across two conditions. In both conditions, participants heard eight repetitions of each phrase and rated their experience after each repetition using a 10-point scale from “sounds like speech” to “sounds like song.” The conditions differed in whether the repetitions were heard consecutively or interleaved such that participants were exposed to other phrases between each repetition. The illusion was strongest when exposures to phrases happened consecutively, but phrases were still rated as more song-like after interleaved exposures. In Experiment 2, participants heard eight consecutive repetitions of each of eight phrases. Seven days later, participants were exposed to eight consecutive repetitions of the eight phrases heard previously as well as eight novel phrases. The illusion was preserved across a delay of one week: familiar phrases were rated as more song-like in session two than novel phrases. The results provide evidence for the role of rapid phrase-specific learning and long-term memory in the speech-to-song illusion.
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Conture, Edward G., Howard D. Schwartz, and David W. Brewer. "Laryngeal Behavior during Stuttering." Journal of Speech, Language, and Hearing Research 28, no. 2 (1985): 233–40. http://dx.doi.org/10.1044/jshr.2802.233.
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The purpose of this study was to provide detailed, objective descriptions of stutterers' laryngeal behavior during instances of stuttering within conversational speech. Subjects were 11 adult stutterers who produced stutterings (sound prolongations and sound/syllable repetitions) while their laryngeal behaviors were observed by means of a flexible fiber-optic nasolaryngoscope (fiberscope). Laryngeal behaviors during 86 of the 11 stutterers' stutterings were categorized as adducted, intermediate, or abducted. Results indicate that during sound prolongations the vocal folds were more likely to be adducted and less variable in their movement than during sound/syllable repetitions. Results further indicated that the voicing characteristics of the stuttered sound (voiceless vs. voiced) and the type of stuttering (sound prolongation vs. sound/syllable repetition) interactively influenced laryngeal behavior. It is hypothesized that a complex interaction among the laryngeal, articulatory, and respiratory systems contribute to the occurrence of the inappropriate abductory and/or adductory laryngeal behavior which characterizes prolonged or repeated (stuttered) speech segments.
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Zebrowski, Patricia M. "Duration of the Speech Disfluencies of Beginning Stutterers." Journal of Speech, Language, and Hearing Research 34, no. 3 (1991): 483–91. http://dx.doi.org/10.1044/jshr.3403.183.
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This study compared the duration of within-word disfluencies and the number of repeated units per instance of sound/syllable and whole-word repetitions of beginning stutterers to those produced by age- and sex-matched nonstuttering children. Subjects were 10 stuttering children [9 males and 1 female; mean age 4:1 (years:months); age range 3:2–5:0], and 10 nonstuttering children (9 males and 1 female; mean age 4:0; age range: 2:10–5:1). Mothers of the stuttering children reported that their children had been stuttering for 1 year or less. One 300-word conversational speech sample from each of the stuttering and nonstuttering children was analyzed for (a) mean duration of sound/syllable repetition and sound prolongation, (b) mean number of repeated units per instance of sound/syllable and whole-word repetition, and (c) various related measures of the frequency of all between- and within-word speech disfluencies. There were no significant between-group differences for either the duration of acoustically measured sound/syllable repetitions and sound prolongations or the number of repeated units per instance of sound/syllable and whole-word repetition. Unlike frequency and type of speech disfluency produced, average duration of within-word disfluencies and number of repeated units per repetition do not differentiate the disfluent speech of beginning stutterers and their nonstuttering peers. Additional analyses support findings from previous perceptual work that type and frequency of speech disfluency, not duration, are the principal characteristics listeners use in distinguishing these two talker groups.
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Daikhin, Luba, Ofri Raviv, and Merav Ahissar. "Auditory Stimulus Processing and Task Learning Are Adequate in Dyslexia, but Benefits From Regularities Are Reduced." Journal of Speech, Language, and Hearing Research 60, no. 2 (2017): 471–79. http://dx.doi.org/10.1044/2016_jslhr-h-16-0114.
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Purpose The reading deficit for people with dyslexia is typically associated with linguistic, memory, and perceptual-discrimination difficulties, whose relation to reading impairment is disputed. We proposed that automatic detection and usage of serial sound regularities for individuals with dyslexia is impaired (anchoring deficit hypothesis), leading to the formation of less reliable sound predictions. Agus, Carrión-Castillo, Pressnitzer, and Ramus, (2014) reported seemingly contradictory evidence by showing similar performance by participants with and without dyslexia in a demanding auditory task that contained task-relevant regularities. To carefully assess the sensitivity of participants with dyslexia to regularities of this task, we replicated their study. Method Thirty participants with and 24 without dyslexia performed the replicated task. On each trial, a 1-s noise stimulus was presented. Participants had to decide whether the stimulus contained repetitions (was constructed from a 0.5-s noise segment repeated twice) or not. It is implicit in this structure that some of the stimuli with repetitions were themselves repeated across trials. We measured the ability to detect within-noise repetitions and the sensitivity to cross-trial repetitions of the same noise stimuli. Results We replicated the finding of similar mean performance. However, individuals with dyslexia were less sensitive to the cross-trial repetition of noise stimuli and tended to be more sensitive to repetitions in novel noise stimuli. Conclusion These findings indicate that online auditory processing for individuals with dyslexia is adequate but their implicit retention and usage of sound regularities is indeed impaired.
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Vekshin, Georgy V., Mickhail N. Gertzev, and Yaroslav E. Loskot. "Automatic Detection of Sound Repetitions in Verse: Realising the Syllabocentric Approach in the Phonotext Program." RUDN Journal of Language Studies, Semiotics and Semantics 12, no. 3 (2021): 597–618. http://dx.doi.org/10.22363/2313-2299-2021-12-3-597-618.
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The article presents approaches to the automatic detection of sound repetitions and the measurement of sound coherence in Russian poetic text basing on the syllabocentric concept of the sound texture of the verse, which distinguishes the phonosyllabeme as its main operational unit and determines the main types of relations between the elements of repetition - equiphony and metaphony - and also allows describe the text in its unity of sound-segmental and rhythmic structure. The paper considers the linguistic prerequisites, main algorithms and methods, which form the basis of the PHONOTEXT computer program (web application), which automatically analyzes and visually forms the picture of the sound composition of the text presenting its quantitative characteristics. The basic operations of the program are described in detail, as well as the mathematical formulas used to identify the structure and carry out mathematical measurement of sound repetitions in Russian poetic speech. The article discusses the results of the programs use for the comparative study of poetry and prose, individual works and individual styles of Russian poets. In particular, the data obtained using the Phonotext program allows us to speak of a tendency towards syntagmatic consolidation of the phonosyllabeme and intensive granulation of the sound texture of the text in the individual style of Osip Mandelstam as the evidence of his striving for poetic morphologization of the elements of sound repetition, it also shows a tendency towards the use of the dominant sound theme as a means for cohesion of a complex syntactic and compositional whole, in contrast to Vladimir Nabokovs idiostyle, which is characterized by its orientation towards splitting up the elements of repetition, with a relatively chaotic interaction and spreading of consonances over the text and their low activity as a means of syntagmatic segmentation and consolidation of the text. The prospects for the development of the Phonotext program are described for identifying the relations of segment-sound and prosodic parallelism in speech (relations of equirhythmy and equiphony, including rhyme), which will provide an automatic presentation of a complete picture of the sound composition, the interaction of its main forms in the text and its further functional description.
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FAGAN, MARY K. "Mean Length of Utterance before words and grammar: Longitudinal trends and developmental implications of infant vocalizations." Journal of Child Language 36, no. 3 (2008): 495–527. http://dx.doi.org/10.1017/s0305000908009070.
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ABSTRACTThis study measured longitudinal change in six parameters of infant utterances (i.e. number of sounds, CV syllables, supraglottal consonants, and repetitions per utterance, temporal duration, and seconds per sound), investigated previously unexplored characteristics of repetition (i.e. number of vowel and CV syllable repetitions per utterance) and analyzed change in vocalizations in relation to age and developmental milestones using multilevel models. Infants (N=18) were videotaped bimonthly during naturalistic and semi-structured activities between 0 ; 3 and the onset of word use (M=11·8 months). Results showed that infant utterances changed in predictable ways both in relation to age and in relation to language milestones (i.e. reduplicated babble onset, word comprehension and word production). Looking at change in relation to the milestones of language development led to new views of babbling, the transition from babbling to first words, and processes that may underlie these transitions.
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Zebrowski, Patricia M. "Duration of Sound Prolongation and Sound/Syllable Repetition in Children Who Stutter." Journal of Speech, Language, and Hearing Research 37, no. 2 (1994): 254–63. http://dx.doi.org/10.1044/jshr.3702.254.
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The purpose of this study was to measure the duration of sound prolongations and sound/syllable repetitions (stutterings) in the conversational speech of school-age children who stutter. The relationships between duration and (a) frequency and type of speech disfluency, (b) number and rate of repeated units per instance of sound/syllable repetition, (c) overall speech rate, and (d) articulatory rate were also examined. Results indicated that for the children in this study the average duration of stuttering was approximately three-quarters of a second, and was not significantly correlated with age, length of post-onset interval, or frequency of speech disfluency. In addition, findings can be taken to suggest that part of the clinical significance of stuttering duration for children who stutter might lie in its relationship to the amount of sound prolongations these children produce, as well as their articulatory rate during fluent speech.
Teses / dissertações sobre o assunto "Sound repetitions"
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Henderlong, Elizabeth Emrick Leshner Glenn. "Sound off (or sound on) melodic repetition, sonic branding and interactive advertisements /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/5354.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on December 28, 2009) Thesis advisor: Dr. Glenn Leshner. Includes bibliographical references.
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Gedge, Maxie. "Action, repetition and distance : exploring sound and the body/sounding the body." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53450/.
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Gifford, Taylor. "Nonword Repetition Errors in Childhood Apraxia of Speech, Speech Sound Disorder, and Developmental Language Disorder." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1588167731541878.
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Pera, Natalie. "Processing predictors of severity of speech sound disorders." Thesis, University of Canterbury. Dept of Communication Disorders, 2013. http://hdl.handle.net/10092/7949.
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This study investigated whether or not variability in the severity of speech sound disorders is related to variability in phonological short-term memory and/or variability in the accuracy of phonological representations. The aim was to determine speech processing predictors of severity of speech sound disorders. A total of 33 children, aged three to six years of age, were assessed on measures of nonword repetition, accuracy of phonological representations, accuracy of speech production, and language. The tests administered included the Clinical Evaluation of Language Fundamentals Preschool – 2 Australian, the Diagnostic Evaluation of Articulation and Phonology, the Nonword Repetition Test (modified), and the Phonological Representation Judgement Task (modified). The relationships between the results of these tests were established using a correlation analysis. The relationship between accuracy of phonological representations and the percentage of consonants correct was found to be mediated by language. There was no significant relationship between nonword repetition and percentage consonants correct. These findings may have been the result of small sample size, age of the participants, or co-morbid language difficulties. These findings imply that variability in severity of speech sound disorders may be related to a variable not directly assessed in this study. This variable may be a constraint relating to the stored motor programs within children’s speech processing systems. Implications for future research are discussed.
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Hansen, Louise Elskær. ""Take care of the sense and tha sounds will mind themselves" : Hvordan jeg håndtere et indstuderingsforløb." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1926.
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Merva, Monica Ann. "The effects of speech rate, message repetition, and information placement on synthesized speech intelligibility." Thesis, Virginia Tech, 1987. http://hdl.handle.net/10919/41554.
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<p>Recent improvements in speech technology have made synthetic speech a viable I/O alternative.
However, little research has focused on optimizing the various speech parameters which influence system performance. This study examined the effects of speech rate, message repetition, and the placement of information in a message. Briefly, subjects heard messages generated by a speech
synthesizer and were asked to transcribe what they had heard. After entering each transcription,
subjects rated the perceived difliculty of the preceding message, and how confident they were of
their response. The accuracy of their response, system response time, and response latency were
recorded.</p>
<p>
Transcription accuracy was best for messages spoken at 150 or 180 wpm and for messages
repeated either twice or three times. Words at the end of messages were transcribed more accurately
than words at the beginning of messages. Response latencies were fastest at 180 wpm with 3 repetitions
and rose as the number of repetitions decreased. System response times were shortest
when a message was repeated only once. The subjective certainty and difiiculty ratings indicated
that subjects were aware of errors when incorrectly transcribing a message. These results suggest
that a) message rates should lie below 210 wpm, b) a repeat feature should be included in speech
interface designs, and c) important information should be contained at the end of messages.</p><br>Master of Science
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Hyvönen, Joni. "En dekonstruktion i ljud : J.O. Mallanders Extended Play." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15144.
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J.O. Mallander’s Extended Play (1968) is a sound recording, a readymade, of the counting of votes in two presidential elections in Finland, during 1962 and 1968. A voice repeats monotonously: “Kekkonen, Kekkonen, Kekkonen, Kekkonen, Kekkonen…” Although the Finnish president Urho Kekkonen represents, almost personifies, the politics of the post World War II period in Finland, Extended Play does not explicitly address the political. Rather, as this essay argues, it engages in the discourses of power and politics by providing a temporalization of its fixedness, or what Jacques Derrida terms the proper. Extended Play is, in parallel with Derrida’s critique of western metaphysics, a deconstruction in sound that challenges the state ideologies conveyed in the process of the counting of votes, where the presuppositions of the presence of the voice characterizes the ambiguities of power that Kekkonen’s politics of neutrality represent. Mallander’s readymade emerges as a double of the game theory strategies of the Cold War, a mimetic surplus of the administrative control mechanisms of sound recording. Through overturning the dialectics of the original and the copy, where repetition of sound also temporalizes the representation of the proper, it does not unequivocally reproduce its content. As an aural document, repeated and mass-produced as a record, it devalues, therefore, presumptions of origin. Derrida’s idea of “sous rature” initiates, in the discussion of Extended Play as a specific form of conceptual sound art, the notion of sound under erasure, which is not reducible to an auditory or medium-specific practice.
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Salciute-Civiliene, Gabriele. "Relative and dynamic aspects of variation in response to lexical repetition : a corpus-based case study of the translations of Faulkner's 'The Sound and the Fury' into Lithuanian, Polish and Russian." Thesis, King's College London (University of London), 2016. https://kclpure.kcl.ac.uk/portal/en/theses/relative-and-dynamic-aspects-of-variation-in-response-to-lexical-repetition(b8994197-e0c2-4dab-92b8-dc13240ebc05).html.
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This thesis reports on an exploratory corpus-based study of the dynamic and hybrid aspects of response to lexical repetition in the three translations of Faulkner’s The Sound and the Fury into Lithuanian, Polish and Russian. The main aim was to explore and devise the dimensions of comparing the translators’ choices in terms of shapes that I argue to be variably sensitive to the factors of frequency, content and distance among word repetitions found in an original text in contrast to the mainstream assumption of Translation Theory that the tendency is to lose repetitions for aesthetic reasons. One of the methodological problems of research into translating repetitions is that choices for repetitions are usually quantified unsystematically with a focus entirely on repetition loss. Thus the underlying patterns of difference and similarity in response to repetition remain invisible in comparison. The solution was to systematically analyze all the choices that the translators had made for a given set of repetitions. Analysis had to be data-driven and its method had to befit the idea that, though they are scattered across an original text, word repetitions have a continuing effect on the translators. Digital tools are many, but few offer straightforward solutions for the manipulation of translated texts in relation to each other and to their common original. To search for meaningful patterns in unruly frequency data within and across the translations, those tools had to be applied in a way for which they were not specifically designed. The method of string analysis and experimental visualization were employed to identify meaningful patterns in non-contiguous frequency data. The results of this study offer hermeneutical insights into the significance of frequency data in building theory on how word repetitions are translated across different languages as well as the practical tools of string analysis for further large scale research.
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Cousin-Martin, Daphné. "Τraduire l'οuïe et le tοucher dans le Τartan Νοir : théοries, pratiques et nοuvelles technοlοgies". Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMR098.
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Cette thèse s’intéresse aux défis de traduction soulevés par le genre du Tartan Noir. Les traductions publiées du genre vers le français semblent s’être centrées autour de l’intrigue, au détriment d’éléments indispensables à la représentation de l’expérience écossaise et de la complexité stylistique des romans. L’équivalence sémantique apparait comme l’approche privilégiée à cette fin, dans les traductions publiées. Ce travail de recherche pluridisciplinaire se propose d’explorer les particularités du Tartan Noir dans sa diversité par le biais des sens et du corps, en se concentrant sur les auteurs et autrice Chris Brookmyre, Neil Broadfoot et Val McDermid. Alliant théorie et pratique, il mobilise les outils de la traductologie et la créativité des translation studies afin de développer des traductions alternatives qui préservent les éléments saillants du genre et du style des auteurs. En outre, la place grandissante faite à la traduction automatique neuronale soulève des interrogations traductologiques additionnelles. Ce travail s’articule autour de trois axes : 1) l’oralité, 2) l’agentivité, la personnification et l’objectification, 3) la synesthésie. Chacun d’entre eux est étudié en relation à une sensibilité écossaise et une sensibilité du Tartan Noir. Des illustrations composées de traductions publiées, de traductions produites par Google Translate et DeepL, et de nos traductions génèrent une discussion<br>This thesis addresses the challenges of translating Tartan Noir. Translations published in French seem to focus on the plot rather than on elements that are crucial in representing a Scottish experience and for the stylistic complexity of novels. To this end, relying on semantic equivalence is the favoured approached of published translators. This pluridisciplinary research work endeavours to explore Tartan Noir’s specificities in all its diversity through the lens of body and senses, concentrating on authors Chris Brookmyre, Neil Broadfoot and Val McDermid. Mixing practice and theories makes it possible for me to draw on traductologie’s teachings as tools, and on translation studies’s creativity in order to develop translation alternatives preserving the salient features of the genre and of the authors’s styles. Moreover, Neural Machine Translation’s growing importance in the field raises new questions. This work is composed of three parts: 1) Orality, 2) Agency, personification and reification, 3) synesthesia. They are all studied in relation to a Scottish sensibility and a Tartan Noir sensibility. A discussion is brought about thanks to illustrations made up of published translations, translations produced by Google Translate and DeepL, and my own translations
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Viñas, Alcoz Albert. "Celuloide inaudito: prácticas sonoras en el cine estructural (1960-1981)." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/352713.
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Esta tesis estudia el sonido del cine estructural analizando sus fundamentaciones teóricas, sus tratamientos prácticos y sus apreciaciones estéticas. Se parte de una serie de películas estructurales internacionales englobadas bajo cuatro conceptos acústicos para discutir las dinámicas de sus sonidos. La investigación se centra en la noción de ruido, la utilización de la voz, las técnicas de repetición y el concepto de paisaje sonoro, para examinar doce filmes que desnaturalizan el sonido enfatizando su materialidad. El estudio confirma la experimentación acústica del cine estructural como uno de los recursos esenciales para interrogar las limitaciones tecnológicas del medio.<br>This thesis studies the structural film sound analyzing their theoretical foundations, its practical treatments and aesthetic appreciation. A series of international structural films included under four acoustic concepts are located in order to discuss the dynamics of their sounds. The research focuses on the notion of noise, the use of the voice, the techniques of repetition and the concept of soundscape, to examine twelve films which distort the sound emphasizing its materiality. The study confirms the acoustic experiments os structural film as an essential resource to question the technological limitations of the medium.
Livros sobre o assunto "Sound repetitions"
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Nefedov, Igor', Andrey Panteleev, and Anna Shi. We speak Russian. Publishing Center RIOR, 2022. http://dx.doi.org/10.29039/02101-9.
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The textbook is intended for teachers of Russian as a foreign language working in a Chinese classroom. The purpose of the textbook is to offer the teachers of the RCT a unique set of phonetic, grammatical and lexical exercises and games to replenish vocabulary, improve the skills of correct pronunciation of sounds and assimilation of Russian grammar, taking into account the specifics of the Chinese language.
 The manual is composed of phonetic, grammatical and lexical games and exercises of varying complexity, aimed at the formation of communicative and linguistic competencies, as well as at repetition and deeper assimilation of language material studied in the framework of the basic courses of Russian as a foreign language.
 The textbook can be used as an additional source of exercises and games for teaching Chinese students, undergraduates and postgraduates of philological and non-philological specialties of universities both in classroom classes as part of a correction course of phonetics, extracurricular work in a game format, as well as in the process of independent in-depth study of the Russian language
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Lougheed, Judith. Signposts to music.: Games and activities for individuals, groups, and the whole class, investigating the different ways sounds are organised in simple forms, including patterns, repetition and contrast, phrases, and musical shapes. Oxford University Press, 1997.
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Guggenheimer, Eva H. Rhyme Effects and Rhyming Figures: A Comparative Study of Sound Repetitions in the Classics with Emphasis on Latin Poetry. De Gruyter, Inc., 2018.
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Glanville, Peter John. Repetition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198792734.003.0007.
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Chapter 7 is an analysis of Arabic verb patterns characterized by reduplication. It argues that the repetition of phonological material in a given verb is symbolic of repeated action in the event that the verb describes. The chapter examines verbs marked by gemination of the second root consonant, itself a type of reduplication, and verbs marked by identity of the first and second consonants. It considers the role of sound symbolism in accounting for the difference between these two verb patterns, and discusses the extent to which the notion of a biconsonantal etymon and the idea of a phonestheme are useful in establishing the origins of certain verbs and their derivational relationship to other verbs containing the same two consonants. The chapter concludes with an account of the shifting semantic function of these patterns over time.
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Frattarola, Angela. Modernist Soundscapes. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056074.001.0001.
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Modernist Soundscapes questions how early twentieth-century auditory technologies altered sound perception, and how these developments shaped the modernist novel. As the phonograph, telephone, talkie, and radio created new paths for connectivity and intimacy, modernist writers such as Dorothy Richardson and Virginia Woolf were crafting characters intimately connected by the prosody of voice, music, and the soundscape. As headphones piped nonlocal sounds into a listener’s headspace, Jean Rhys and James Joyce were creating interior monologues that were shaped by cosmopolitan and bohemian sounds. As the phonograph and tape recorder aestheticized noise through mechanical reproduction, Virginia Woolf and Samuel Beckett were deploying onomatopoeia and repetition to aestheticize words and make them sound out. Modernist Soundscapes encourages us to listen to these auditory narratives in order to grasp how the formal and linguistic experiments we have come to associate with modernism are partially a consequence of this historical attentiveness to sound. This heightened awareness of audition coincided with an emerging skepticism toward vision. Indeed, modernist writers turned to sound perception as a way to complicate the dominance of vision—a sensibility rooted in Greek philosophy that equated seeing with knowledge and truth. Without polarizing vision and audition, this book reveals how modernists tend to use auditory perception to connect characters, shifting the subject from a distanced, judgmental observer to a reverberating body, attuned to the moment.
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Vierestraete, Pieter, and Ylva Söderfeldt. Deaf-Blindness and the Institutionalization of Special Education in Nineteenth-Century Europe. Edited by Michael Rembis, Catherine Kudlick, and Kim E. Nielsen. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190234959.013.16.
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Careful analysis of underexplored and neglected case studies demonstrates how an initial interest in the behavior and constitution of early-nineteenth-century deaf-blind persons gradually made possible a professional and impersonal approach. The deaf-blind person in the early nineteenth century had been a creature of mostly unrefined, but therefore authentic, sensory experience, whose reduction to the supposedly simpler senses of smell, touch, and taste made the basic nature of humankind appear more clearly. In contrast, the educated deaf-blind person later in the century was a vessel for the display of pedagogic expertise. The institutionalization of special education for deaf-blind persons in western Europe thus can be characterized by a shift from listening to the “sound” of deaf-blind persons to a mere repetition of the discursive “noise” of professionals.
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Abbott, Helen. Baudelaire’s Assemblage. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0002.
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Song is a combination of elements, of which the outcome is not always stable. This chapter examines the nature of the bonds formed between poem and music by proposing a new ‘‘assemblage’’ model, which focuses on five key parameters: (a) metre/prosody; (b) form/structure; (c) sound properties/repetition; (d) semantics/word painting; (e) live performance options. This approach bridges methodological gaps exposed through an examination of existing models used in translation theory, adaptation theory, and word/music theory. The two stages in the assemblage model examine: (1) adhesion strength (how closely poem and music stick together); (2) accretion/dilution (how successful the song setting is). The phases of analysis factor in how song is a non-permanent form which goes through multiple iterations of repackaging, including different performances of the same song and different settings of the same poem.
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Abbott, Helen. Baudelaire in Song. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.001.0001.
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Exploring the work of the major nineteenth-century French poet Charles Baudelaire (1821–67), this book examines how and why Baudelaire’s poetry has inspired so many composers to set it to music in different ways. The author proposes a new model for analysing song, through an ‘assemblage’ approach, which examines the complex relationships formed between common features of poetry and music, including metre/prosody, form/structure, sound properties/repetition, and semantics. The model also factors in the realities of song as a live performance genre, revealing which parameters of song emerge as standard for French text-setting and where composers diverge in their approach. The specific case studies that make up the second half of the book focus on Baudelaire song sets produced by European composers between 1880 and 1930, specifically Maurice Rollinat, Gustave Charpentier, Alexander Gretchaninov, Louis Vierne, and Alban Berg. Using this corpus, the assemblage model is tested to uncover new findings about what happens to Baudelaire’s poetry when it is set to music. Analysing Baudelaire’s poetry within song settings uncovers richer features of the texts that we might otherwise not see or hear. Examining each song setting in close detail confirms that there are no overt resonances between the types of poems selected for musical interpretation, just as there is no single, perfect ‘ideal’ setting of Baudelaire.
Capítulos de livros sobre o assunto "Sound repetitions"
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Smyth, Gerry. "Echo and Repetition in Chamber Music." In Music and Sound in the Life and Literature of James Joyce. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-61206-1_4.
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Attema, Thomas, and Serge Fehr. "Parallel Repetition of $$(k_1,\dots ,k_{\mu })$$-Special-Sound Multi-round Interactive Proofs." In Advances in Cryptology – CRYPTO 2022. Springer Nature Switzerland, 2022. http://dx.doi.org/10.1007/978-3-031-15802-5_15.
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Houghton-Walker, Sarah. "The Sense and the Sound of Repetition in Romantic-Period Poetry." In Wordsworth's Poetry of Repetition. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192870483.003.0001.
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Abstract This chapter considers the ways in which repetition has been valued or disdained within various philosophical, musical, and literary traditions. It argues that repetitions of sound in poetry (which are sometimes defined as rhyme) often function independently or as a supplement to the semantic content of texts. These repetitions are described as musical aspects of language, as opposed to the linguistic meaning of the words. The chapter also attends to the idea that a rigid insistence on rhyme might determine poetic utterance, thus impacting on the possibility of ‘sincere’ expression. Through extended close attention to a specific romantic-period sonnet (by John Clare), it suggests some of the ways in which aural repetitions might be harnessed to create meaning beyond the more literal connotations of the words of a text.
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Spill, Frédérique. "Faulknerian Idiotisms." In Inventing Benjy, translated by Arby Gharibian. University Press of Mississippi, 2024. http://dx.doi.org/10.14325/mississippi/9781496849007.003.0005.
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This chapter begins by exploring the relationship between memory and time revealed in Benjy’s narration in The Sound and the Fury. The chapter then turns to examine various repetitions in Faulkner’s work and how Faulknerian idiots may be better understood and studied through an analysis of these repetitions.
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Beamnt, Jams. "The Vibration of Strings." In The Violin Explained. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198166238.003.0002.
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Abstract Terms have these meanings until developed further in the text:Frequency: the rate of vibration; the number of repetitions or cycles in a second. The frequency of violin open A is 440 cycles per second.Pitch: the characteristic of musical sound which enables the hearer to refer it for a scale of pitches.A note: the complete played sound of the simplest unit of music as produced by an instrument, which consists of a starting transient at the beginning followed by a sustained sound of constant pitch and loudness.
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"Filmic Obsessive Repetitions, Dissociations, and Power Relations." In At the Pivot of East and West. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478024460-007.
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Three films by the Singaporean director Daniel Hui are the focus of this chapter. These films experiment in the space between documentary and fictive documentary filmmaking in an effort to deal with authoritarian repetitions in the histories that Singaporeans narrate and in which they feel caught. The most recent film, Demons, is cast as a horror film, and explores the social dynamics and ethics of using the power of the film director (or political dictator) beyond what any given actor is comfortable with. Hui's earlier films Eclipses and Snakeskin explore artistic form, the labor of filmmaking, and question the artifice of film. Hui employs multiple points of view, sometimes fusing two or more films together, and keeps the sound disjunctive from what is seen. His films explore depression and grief, state surveillance and control, and the ethics of film.
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Edstrom, Brent. "Interactive MIDI Arpeggiator." In Sound & Music Projects for Eurorack and Beyond. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197514504.003.0012.
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Abstract This chapter examines the key concept of Interactive MIDI Arpeggiator (IMA) project. It explains that the project demonstrates several concepts including memory buffers, MIDI I/O, and clock synchronization. Additionally, the IMA project also demonstrates the creative potential of microcontroller technology, where unique interactive playback algorithms are only limited by imagination. The chapter notes that the arpeggiator consists of four pairs of buttons that control pattern selection, rate, note duration, and note repetitions. It highlights that the IMA provides a convenient way to develop customized arpeggiation patterns beyond the limited number of patterns available in a typical digital audio workstation.
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Avila, Jacqueline. "Introduction." In Cinesonidos. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.003.0001.
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This chapter discusses the present state of research on music in Mexican cinema and why a study is so important. Building on frameworks of nationalism and cultural identity in Mexico the author utilizes the concept of “cultural synchresis,” which draws upon sound theorist Michel Chion’s model of synchresis—the combination of synchronism and synthesis that arises when an auditory phenomenon and a visual phenomenon occur at the same time. Using this model, the author investigates how repetitions of film—as bodies of music, the moving image, and narrative working in tandem—molded diverse codes of national identity construction aimed and recognized by urban audiences. This juxtaposition of the narrative, moving image (which encompasses the costuming, setting, lighting, etc.), and sound (which includes diegetic and non-diegetic music and sound design) produced encoded messages representing specific interpretations of Mexicanidad (the cultural identity of the Mexican people) that impacted collective memory.
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Johnstone, Barbara. "Idiosyncracy and Its Interpretation." In The Linguistic Individual. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195101843.003.0006.
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Abstract Language, too, can be seen as a hierarchy of constraints, from the species-wide constraints on all humans (and perhaps birds and whales, too), to the particular constraints that make me sound like me-and work out of my memory, shape as I shape, relate to others as I do, and live in my world with some kind of coherence. One can study this continuum at any level, but language is not reducible to just one In Chapter 1 I described a word, my father ‘s aaahh,that I have heard only two people use. Aaahhhas a meaning for my father, for me, and by now for readers of this book. But aaahhis idiosyncratic-so much the property of one particular speaker that when my sister used it I was startled, amazed to hear the word uttered in another voice. If aaahhis idiosyncratic, how does anybody understand what it means? That question is the subject of this Chapter. I will suggest that people understand new uses of language by noticing and interpreting repetition. I understand what aaahhmeans because I have heard it before; my father ‘s current uses of the form are repetitions of prior uses. Diachronic repetition like this is useful in interpreting almost new forms, forms
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Harley, Maria Anna. "Auditory Scene Analysis: Future Directions For Musicological Research." In Musicology And Sister Disciplines Past,Present,Future. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0059.
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Abstract This session presented aspects of one of the recent developments in psychoacoustics which promise exciting new directions for musicological research. The concept of auditory scene analysis (ASA) was introduced in the 1980s by Albert S. Bregman (see especially his Auditory Scene Analysis: The Perceptual Organization of Sound, Cambridge, MA, 1990). The theory describes the ability of the human auditory system to organize the acoustic chaos created by multiple sound sources into separate though interacting perceptual ‘streams’ or ‘objects’. This process involves a two-tiered structure of stream segregation (primitive, i.e. innate, and schema-based, i.e. learnt), and a range of acoustic ‘cues’ for integrating simultaneous and sequential components of acoustic patterns (such as frequency proximity, temporal proximity, spatial location, timbre, repetitions, interaction with vision, etc.). The concept of the auditory scene encompasses all possible ‘soundscapes’, including environmental noise, speech, and music.
Trabalhos de conferências sobre o assunto "Sound repetitions"
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Sirkka, Anna, Johan Fagerlönn, Stefan Lindberg, and Katarina Delsing. "The Design of an Auditory Alarm Concept for a Paper Mill Control Room." In Applied Human Factors and Ergonomics Conference. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001301.
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Auditory alarms are common in industrial control rooms. Sound has certain advantages over other alarm modes. Salient auditory stimuli effectively capture and guide attention, regardless of the operators’ visual focus. Sound can also convey detailed information. However, auditory alarms are often carelessly implemented, utilising sounds that are too loud, too numerous, and too confusing. The aim of this work was to develop a concept to enhance the auditory alarms in a control room. Before the concept was developed, a study involving 21 operators evaluated the state of the alarm sounds. The results indicated a poor design and confirmed certain well-known issues with alarm sounds. The concept included new alarm sounds, spatial presentation of the sounds, and alarm repetition intervals. The sounds are based on a new design principle in which each alarm sound composes two parts. One conveys urgency information, and the other contains information associated with the section in question. The design process involved 24 control-room operators and 13 design iterations, which were used to refine the concept. An evaluation involving 20 operators was conducted to examine the appropriateness of the concept. The results demonstrate that the developed concept increases operator effectiveness and acceptance as well as the overall sound environment.
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Ahmed EZZAT, Azza Adnan. "REFLECTIONS ON LINGUISTIC SIGNIFICANCE AND VOCAL MUSIC: SURAT AL-NASR AS A MODEL." In IV. INTERNATIONAL RESEARCH CONGRESS OF CONTEMPORARY STUDIES IN SOCIAL SCIENCES. Rimar Academy, 2022. http://dx.doi.org/10.47832/rimarcongress4-2.
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The internal acoustic music of Surat Al-Nasr depicted the sign of the promise of complete victory and the good tidings of the entry of many creatures to Islam. The feeling of pride and vanity appeared for the coming of victory and conquest, and the vision of entering, represented by the tide in the sound of the thousand in the first verse three times, and the glorification of (lam) the word of majesty, then it calmed down when the Almighty said: In the religion of God) to express entering quietly and smoothly by elongating the tide of the word God, and this is exactly what happened at the beginning of the Islam. The highly “hamza” and “Jeem,” then the repetition of the tide in absolute thousand came to reinforce this, and the syllables and sounds contributed to the stereotyped sound image, and shedding lights on the meaning of the words. We also find that the percentage of open syllables in the surah reached (63.2%) and the movement of conquest (65.3%), in addition to the increase in the percentage of vocalized voices to the whispered by more than double, and this music increases by the increase in the percentage of the closed sound clip closed silently in the last verse to (42.85%) After it was (30%) in the first verse and (27.7%) in the second verse, it is in harmony with the state of praise and forgiveness that requires a kind of reverence, represented by this energetic calm and this quiet of speaking.. Key words: Surat Al-Nasr, Vocal Music, Reflections on Linguistic
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Akimov, Alexander, and Marina Egorova. "THE REPETITION OF THE SOUND SERIES RYTHM BY THE PRIMARY AUDITORY CORTEX NEURONS IN THE MOUSE (MUS MUSCULUS) BRAIN." In XVIII INTERNATIONAL INTERDISCIPLINARY CONGRESS NEUROSCIENCE FOR MEDICINE AND PSYCHOLOGY. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2667.sudak.ns2022-18/46-47.
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Zelenskaya, T. E., E. S. Kovalenko, E. W. Padusova, and L. I. Sharygina. "Photorefractive recording mechanism of acoustic waves in crystals." In Photorefractive Materials, Effects, and Devices II. Optica Publishing Group, 1990. http://dx.doi.org/10.1364/pmed.1990.bp7.
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Now some recording mechanisms of acoustic waves in crystals are known. Photorefractive mechanism, mechanism, connected with nonstationary photoconductivity under impulse radiation of the crystal and also mechanisms connected with nonlinear material equations [1-3] belong to them. Our experiments on recording of acoustic waves with the frequency of about 100 MHz under the radiation of LiNbO3 crystal with subnanosecond light impulses showed that in this case photorefractive mechanism of recording is the main one. On this condition the electrical fields of the recorded grid gets the value like that of electric field of acoustic wave in piezocrystal. As the value of the field is so high one must take into consideration the selfdifraction of the waves while examing the recording process [4]. In this work the recording kinetics of the acoustic waves in photorefractive crystals under the radiation by the ultrashort light impulses with repetition frequency equal to that of sound is considered.
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de Lima, Pedro L. S., and Cláudio E. C. Campelo. "Disfluency Detection and Removal in Speech Transcriptions via Large Language Models." In Simpósio Brasileiro de Tecnologia da Informação e da Linguagem Humana. Sociedade Brasileira de Computação, 2024. https://doi.org/10.5753/stil.2024.245417.
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The field of Automatic Speech Recognition (ASR) has significantly expanded within the technological landscape due to its extensive use in sectors such as education, healthcare, and customer service. Many modern applications depend on analyzing spoken content through Speech-to-Text (STT) conversion models. However, transcriptions produced by these systems often contain undesirable elements, such as word repetitions and the prolongation of certain sounds, known as disfluencies or linguistic crutches. These elements can negatively affect the quality of automatic content analysis by Natural Language Processing (NLP) models, including those for named entity recognition, emotion detection, or sentiment analysis. Therefore, this study aims to evaluate the feasibility of identifying and eliminating linguistic disfluencies using Large Language Models (LLMs), such as GPT-4, LLaMA, Claude, and Gemini, through Prompt Engineering techniques. The approach was tested using a corpus of debate transcriptions with manually annotated disfluency occurrences, yielding promising results.
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Grachev, G. N., I. B. Miroshnichenko, A. L. Smirnov, P. A. Statsenko, V. N. Tischenko, and A. G. Berezutskiy. "Effect of the laser average power and pulse repetition rate on the spectrum and localization of intense sound produced by an pulsating optical discharge in the air." In PROCEEDINGS OF THE XXV CONFERENCE ON HIGH-ENERGY PROCESSES IN CONDENSED MATTER (HEPCM 2017): Dedicated to the 60th anniversary of the Khristianovich Institute of Theoretical and Applied Mechanics SB RAS. Author(s), 2017. http://dx.doi.org/10.1063/1.5007576.
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Chirila, Ciprianbogdan. "EDUCATIONAL RESOURCES AS WEB GAME FRAMEWORKS FOR PRIMARY AND MIDDLE SCHOOL STUDENTS." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-029.
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The massive open online course is a development in distance education. The existing online courses for primary and middle school students are based on several classic open educational resources like images, sounds, animations, but they could also be based on competence achieving web games. Writing web games for each discipline competence is a hard task, achievable only by programmers. Using frameworks we can offer teachers and other content editors the possibility of creating their own web games for the students. In this sense we designed and implemented two frameworks. One framework is based on a configurable dialog between two players. The dialog can be configured with mathematical expressions based on formulas, fields for questions with expected answers, loops for repetition in case of wrong answers, mark giving algorithms. The second framework is based on a configurable board and dice. The board has to be designed as an image with several ordered cells. On each cell we can configure events like: showing simple messages, asking questions, reading surprises. All events can be configured with actions like: moving backward of forward on the table stepping a certain number of cells, rolling the dice again. Both frameworks are using the HTML5 web technology and a simple communication server side logic. Dialog based games are suitable to disciplines which are have mathematical formulas like arithmetic, physics, chemistry. The board games are suitable to disciplines where concepts must be learned and actions must be performed. Thus, the games implemented with these frameworks represent a more attractive way to perform distance education for primary and middle school students.