Literatura científica selecionada sobre o tema "Voice expressivity"
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Artigos de revistas sobre o assunto "Voice expressivity"
Chen, Weiyi, Xinmei Liu e Neal M. Ashkanasy. "Nonverbal Negative Expressivity, Team Voice Behavior, and Team Creativity". Academy of Management Proceedings 2019, n.º 1 (1 de agosto de 2019): 14044. http://dx.doi.org/10.5465/ambpp.2019.14044abstract.
Texto completo da fonteMiranda, Eduardo Reck. "Expressivity of voice synthesis by emphasizing source signal features". Journal of the Acoustical Society of America 118, n.º 2 (2005): 596. http://dx.doi.org/10.1121/1.2040280.
Texto completo da fontePauletto, Sandra, Bruce Balentine, Chris Pidcock, Kevin Jones, Leonardo Bottaci, Maria Aretoulaki, Jez Wells, Darren P. Mundy e James Balentine. "Exploring expressivity and emotion with artificial voice and speech technologies". Logopedics Phoniatrics Vocology 38, n.º 3 (12 de setembro de 2013): 115–25. http://dx.doi.org/10.3109/14015439.2013.810303.
Texto completo da fonteBLAKEMORE, DIANE. "Voice and Expressivity in Free Indirect Thought Representations: Imitation and Representation". Mind & Language 28, n.º 5 (31 de outubro de 2013): 579–605. http://dx.doi.org/10.1111/mila.12035.
Texto completo da fonteSundberg, Johan, Gláucia Laís Salomão e Klaus R. Scherer. "Emotional expressivity in singing. Assessing physiological and acoustic indicators of two opera singers' voice characteristics". Journal of the Acoustical Society of America 155, n.º 1 (1 de janeiro de 2024): 18–28. http://dx.doi.org/10.1121/10.0023938.
Texto completo da fonteCohen, Alex S., Bianca Iglesias e Kyle S. Minor. "The neurocognitive underpinnings of diminished expressivity in schizotypy: What the voice reveals". Schizophrenia Research 109, n.º 1-3 (abril de 2009): 38–45. http://dx.doi.org/10.1016/j.schres.2009.01.010.
Texto completo da fonteCAHILL, PATRICIA A. "Adrienne Herndon's Homeplaces: Shakespeare and Black Resistance in Atlanta, c.1906". Journal of American Studies 54, n.º 1 (10 de dezembro de 2019): 51–58. http://dx.doi.org/10.1017/s0021875819002019.
Texto completo da fonteBaker, Camille C. "MINDtouch: Embodied Mobile Media Ephemeral Transference". Leonardo 46, n.º 3 (junho de 2013): 221–25. http://dx.doi.org/10.1162/leon_a_00560.
Texto completo da fonteAlvarez, Anne. "The Therapist’s Voice: Discussion of “Expressivity and Transformation through Language in Work with Serious Disorder”". Psychoanalytic Dialogues 31, n.º 6 (2 de novembro de 2021): 664–67. http://dx.doi.org/10.1080/10481885.2021.1983371.
Texto completo da fontePajupuu, Hille, Rene Altrov e Jaan Pajupuu. "Towards a vividness in synthesized speech for audiobooks". Eesti ja soome-ugri keeleteaduse ajakiri. Journal of Estonian and Finno-Ugric Linguistics 10, n.º 1 (17 de dezembro de 2019): 167–90. http://dx.doi.org/10.12697/jeful.2019.10.1.09.
Texto completo da fonteTeses / dissertações sobre o assunto "Voice expressivity"
Teytaut, Yann. "On temporal constraints for deep neural voice alignment". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS196.
Texto completo da fonteTo listen, to respond, to make coincide, to coordinate, to adjust, to follow, to adapt, to be in unison, to synchronize, to align... The rich vocabulary dedicated to the correspondence of human activities shows the importance of their temporal organization. Human communication, multi-modal by nature, is fully concerned by this problematic since there exists a semantic gap between oral locutions and their symbolic sequences: how to interpret a written message without the vocal intonation? what performative style beyond a fixed musical score? This thesis proposes to uncover the complex underlying relationships between the audio and symbolic domains in order to reduce this gap through the fine study of the inherent temporality contained in voice recordings. The voice alignment task lies at the core of this objective, as it aims to determine the temporal occurrence of symbols that are assumed to be present in a voice signal. This work notably focuses on the development of an acoustic model, ADAGIO, capable of estimating such time-symbol links. Recent progress in deep learning have led to implement ADAGIO as a deep neural network in a powerful generic formalism: the “Connectionist Temporal Classification” (CTC). However, the great flexibility offered by CTC is undermined by its intrinsic lack of guarantees for temporally accurate predictions. Therefore, the key contributions of this research consist in reinforcing CTC with additional temporal constraints to improve the quality of the inferred alignments. To do so, three ancillary tasks of (1) spectral content reconstruction; (2) audio structure propagation; and (3) guided monotony are introduced and induce a positive impact on the alignment between voices, texts, and notes. Then, ADAGIO contributes to many practical applications via collaborations such as concatenative speech synthesis or the study of expressive production strategies at play for both social attitudes in speech and singing style in musical performances
Nunes, Rafaela Rohsbacker Gonzalez. "Voz-ruído na canção popular brasileira: a expressividade das vozes femininas do samba-canção da década de 1950". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07112017-155453/.
Texto completo da fonteThe song counts on the color of the voice qualities of its performers, who through different sonorities play a role in expressiveness and in the construction of its meaning. Among these sonorities are the noise voices, understood in this research as voice qualities that present sonorous noise next to the vocal tone. The present study aims to investigate the intrinsic aspects of the sound coming from such voices - physiological, acoustic, psychoacoustic and psychodynamic characteristics - and to propose a category survey, investigating its relation with the expressiveness of the singing voice through an analytic listening. This research includes the popular Brazilian singing model, in the repertoire of the samba-canção of the 1950s, in the voices of Dalva de Oliveira, Ângela Maria, Dolores Duran and Maysa. The results point to the role of the voice qualities of the performers in the construction of the meaning of the song, where the noise voice and its antagonistic sonority help to delineate an emotional state expressed by the lyrics, as well as suggest the identification of the singers to the aesthetic aspects of the samba-canção during the study period.
Calzada, Defez Àngel. "Conveying expressivity and vocal effort transformation in synthetic speech with Harmonic plus Noise Models". Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/360587.
Texto completo da fonteEsta tesis se llevó a cabo en el Grup en Tecnologies Mèdia de la Escuela de Ingeniería y Arquitectura la Salle. El grupo lleva una larga trayectoria dentro del campo de la síntesis de voz y cuenta con su propio sistema de síntesis por concatenación de unidades (US-TTS). El sistema permite sintetizar múltiples estilos expresivos mediante el uso de corpus específicos para cada estilo expresivo. De este modo, para realizar una síntesis agresiva, el sistema usa el corpus de este estilo, y para un estilo sensual, usa otro corpus específico para ese estilo. La presente tesis aborda el problema con un enfoque distinto proponiendo cambios en el esquema del sistema con el fin de mejorar la flexibilidad para sintetizar múltiples estilos expresivos a partir de un único corpus de estilo de habla neutro. El planteamiento seguido en esta tesis esta basado en el uso de técnicas de procesamiento de señales (DSP) para llevar a cabo modificaciones del señal de voz para que este exprese el estilo de habla deseado. Para llevar acabo las modificaciones de la señal de voz se han usado los modelos harmónico más ruido (HNM) por su flexibilidad para efectuar modificaciones de señales. La cualidad de la voz (VoQ) juega un papel importante en diferentes estilos expresivos. Por ello se exploró la síntesis expresiva basada en modificaciones de parámetros de bajo nivel de la VoQ. Durante este estudio se detectaron diferentes problemas que dieron pié a los objetivos planteados en esta tesis, entre ellos el encontrar un único parámetro con fuerte influencia en la expresividad. El parámetro seleccionado fue el esfuerzo vocal (VE) por su importante papel a la hora de expresar diferentes emociones. Las primeras pruebas se realizaron con el fin de transferir el VE entre dos realizaciones con diferente grado de VE de la misma palabra usando una metodología basada en un proceso filtrado de pre-émfasis adaptativo con coeficientes de predicción lineales (APLP). Esta primera aproximación logró transferir el nivel de VE entre dos realizaciones de la misma palabra, sin embargo el proceso presentaba limitaciones para generar niveles de esfuerzo vocal intermedios. A fin de mejorar la flexibilidad y el control del sistema para expresar diferentes niveles de VE, se planteó un nuevo modelo de VE basado en polinomios lineales. Este modelo permitió transferir el VE entre dos palabras diferentes e incluso generar nuevos niveles no presentes en el corpus usado para la síntesis. Esta flexibilidad está alineada con el objetivo general de esta tesis de permitir a un sistema US-TTS expresar múltiples estilos de habla expresivos a partir de un único corpus de estilo neutro. Además, la metodología propuesta incorpora un parámetro que permite de forma sencilla controlar el nivel de VE expresado en la voz sintetizada. Esto abre la posibilidad de controlar fácilmente el proceso de síntesis tal y como se hizo en el proyecto CreaVeu usando interfaces simples e intuitivas, también realizado dentro del grupo GTM. Esta memoria concluye con una revisión del trabajo realizado en esta tesis y con una propuesta de modificación de un esquema de US-TTS para expresar diferentes niveles de VE a partir de un único corpus neutro.
This thesis was conducted in the Grup en Tecnologies M`edia (GTM) from Escola d’Enginyeria i Arquitectura la Salle. The group has a long trajectory in the speech synthesis field and has developed their own Unit-Selection Text-To-Speech (US-TTS) which is able to convey multiple expressive styles using multiple expressive corpora, one for each expressive style. Thus, in order to convey aggressive speech, the US-TTS uses an aggressive corpus, whereas for a sensual speech style, the system uses a sensual corpus. Unlike that approach, this dissertation aims to present a new schema for enhancing the flexibility of the US-TTS system for performing multiple expressive styles using a single neutral corpus. The approach followed in this dissertation is based on applying Digital Signal Processing (DSP) techniques for carrying out speech modifications in order to synthesize the desired expressive style. For conducting the speech modifications the Harmonics plus Noise Model (HNM) was chosen for its flexibility in conducting signal modifications. Voice Quality (VoQ) has been proven to play an important role in different expressive styles. Thus, low-level VoQ acoustic parameters were explored for conveying multiple emotions. This raised several problems setting new objectives for the rest of the thesis, among them finding a single parameter with strong impact on the expressive style conveyed. Vocal Effort (VE) was selected for conducting expressive speech style modifications due to its salient role in expressive speech. The first approach working with VE was based on transferring VE between two parallel utterances based on the Adaptive Pre-emphasis Linear Prediction (APLP) technique. This approach allowed transferring VE but the model presented certain restrictions regarding its flexibility for generating new intermediate VE levels. Aiming to improve the flexibility and control of the conveyed VE, a new approach using polynomial model for modelling VE was presented. This model not only allowed transferring VE levels between two different utterances, but also allowed to generate other VE levels than those present in the speech corpus. This is aligned with the general goal of this thesis, allowing US-TTS systems to convey multiple expressive styles with a single neutral corpus. Moreover, the proposed methodology introduces a parameter for controlling the degree of VE in the synthesized speech signal. This opens new possibilities for controlling the synthesis process such as the one in the CreaVeu project using a simple and intuitive graphical interfaces, also conducted in the GTM group. The dissertation concludes with a review of the conducted work and a proposal for schema modifications within a US-TTS system for introducing the VE modification blocks designed in this dissertation.
Romano, Cristiane da Conceição. "A expressividade de alunos universitários do curso de licenciatura em enfermagem antes e após uma intervenção fonoaudiológica". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/83/83131/tde-08052015-173449/.
Texto completo da fonteThe general objective of the study was to evaluate the expressiveness of nursing students at a public university, before and after speech therapy intervention. The hypothesis is that the speech therapy through the expressiveness which involves the verbal, vocal and nonverbal resources modifies the undergraduate students, future teachers of nursing, in relation to their expressiveness. The research conducted in 2014 was quantitative, quasi-experimental designs, in group, of intervention with comparative analysis of the data before and after the intervention performed, and it was attended by six students of the last semester of teaching degree in nursing. As a methodological procedure there were: 1st - preparation of instruments to be used in data collection (for identifying characteristics of the subjects and to evaluate expressiveness - previously adapted protocol for the study, with items of verbal resources - voice quality, attack voice, loudness, pitch, resonance, articulation, speech rate, pneumophonic coordination; vocal resources - emphasis, pauses, melodic curve, rhythm and variations of loudness, pitch and speed of speech and non-verbal resources - facial expression, body posture , use of gestures and nods head); 2nd - data collection from participants (selection of these students for intervention, shoot before speech therapy, development of the proposed intervention in 16 hours distributed in four meetings, filming the participants after the intervention and evaluation of pre-filming and post-training by speech experts; 3rd - data analysis, in which we used the McNemar\'s Chi Square Test for statistical analysis of intervention performed, considering the p value of 5% (? = 0.05). It was also asked to the students about their vision for the effectiveness of the intervention performed. The research project was approved by the Research Ethics Committee of the University (protocol 17918113.8.0000.5393). The intervention had a positive effect on vision of speech therapist judges in descriptive results verbalized by the participants and verbal resources, vocal and nonverbal, although it did not present statistical significance in some of these parameters evaluated. Verbal features of voice quality, vocal attack, loudness and resonance remained appropriate before and after the intervention performed, keeping practically the same results; the pitch, articulation, speed and pneumophonic coordination showed improvement. Regarding vocal resources as emphasis and changes in loudness, pitch and speech rate remained appropriate before and after intervention. The resources of breaks, melodic curve and rhythm were statistically significant after the intervention performed. With respect to non-verbal resources, there was statistical significance in all items. It was found also that there were positive changes as the emotional aspects of the evaluated students who were unsafe and started to suffer greater credibility and security to their presentations, resulting in a satisfactory expression. The results have indicated that there was a partial confirmation of the hypothesis presented; the limitations refer to the small number of participants in the survey, making it difficult to generalize the data. It is suggested that the educational schools with undergraduate nursing courses that students should present subjects which worked communicative competence and also the expression in their training in teaching, to be a prepared teacher to exercise their teaching with more communicative property.
Souza, Priscila Haydée de. "Expressividade oral no cinema: diálogos com a fonoaudiologia". Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/11877.
Texto completo da fonteConselho Nacional de Desenvolvimento Científico e Tecnológico
This project aimed to analyze the issue of oral expressivity in cinema from thematic survey, which came from open interviews with film professionals. The actor's work in this environment has specific demands. The preparation of a film involves many processes, including the technological possibilities and infrastructure. What to think about voice and speech at the cinema? Which processes the construction of oral expressiveness involves in cinema? There are difficulties? The speech, language and hearing scientist can act? Were interviewed six directors, six actors and one sound editor, all of them with film experience, about this research theme. These open interviews were transcribed and analyzed by thematic frameworks, following the proposal of Spink (2004). From these themes, it was possible to organize a didactic proposal to better understand the oral expressivity in cinema. The process for the construction of oral expressivity involves the formation of this, with the previous instrumentation, the script and director influences, and coaches cast and speech therapists; involves support technologies and infrastructure, and fragmentation of oral expressivity. Naturalism, irreversibility, the intimate nature, art and entertainment are features of oral expressivity in cinema. Achieve the objectives of the movie director and to express truth, with intelligibility, continuity, aesthetic and harmony or organicity are the goals of oral expressivity in film. According to respondents, the most frequently cited difficulty is in training, in the preparation of oral expressivity, specifically in the previous instrumentation and creative process, because the processes are very intuitive, subjective, factor that complicates the communication between director, actor, coaches cast and sound designers. Another difficulty is related to support technology and infrastructure for environmental noise, poor equipment and unprepared technical team. The repair of the problems of the filming time or audiovisual record involves editing and dubbing. The dubbing is also a difficulty for most respondents. The speech, language and hearing scientist advice, if based on the specific needs of the environment, can be sensitive at all stages of the construction of oral expressivity in cinema. There is a limited knowledge among professionals of the cinema whose biggest myth is to believe that Speech Therapists acts only in the disturbances. Moreover, perhaps Speech Therapists ignores the needs of the film context and maybe they are a little boldness in proposing their work
Esta dissertação teve como objetivo analisar a questão da expressividade oral no cinema a partir de levantamento temático, que partiu de entrevista aberta, com profissionais do meio. O trabalho do ator nesse meio possui demandas específicas. A elaboração de um filme envolve muitos processos, junto às possibilidades tecnológicas e infra-estrutura. O que pensar sobre voz e fala no cinema? Quais processos envolvem a construção da expressividade oral no cinema? Existem dificuldades? O fonoaudiólogo pode atuar? Foram realizadas entrevistas abertas a seis diretores, seis atores e uma editora de som, todos com experiência em cinema, sobre o tema da pesquisa. Essas entrevistas foram transcritas e analisadas por quadros temáticos, seguindo proposta de Spink (2004). A partir desses temas, foi possível organizar uma proposta didática para melhor compreender a expressividade oral no cinema. O processo para a construção dessa expressividade envolve a formação desta, com a instrumentalização prévia, as influências do roteiro, da direção e das assessorias de preparadores de elenco e fonoaudiólogos; envolve as tecnologias de apoio e infra-estrutura; e a fragmentação da expressividade oral. São características da expressividade oral no cinema, o naturalismo, a irreversibilidade, o caráter intimista, a arte e o entretenimento. Dentre os objetivos encontrados, deve atingir os ideais da direção e transmitir verdade, com inteligibilidade, continuidade, estética e harmonia ou organicidade. Segundo os entrevistados, a dificuldade mais apontada está na formação, no preparo da expressividade oral, mais especificamente na instrumentalização prévia e processo criativo, devido a procedimentos muito intuitivos, subjetivos, fator que também prejudica a comunicação entre diretor, ator, preparadores de elenco e equipe técnica. Outra dificuldade está relacionada às tecnologias de apoio e infra-estrutura, por ruído ambiental, equipamentos deficientes e despreparo da equipe técnica. O reparo dos problemas da fase de captação envolve edição e dublagem. A dublagem é, também, uma dificuldade para a maioria dos entrevistados. A assessoria fonoaudiológica, se embasada das necessidades específicas do meio, pode ser sensível em todas as etapas do processo de construção da expressividade oral no cinema. Há um conhecimento limitado por parte dos profissionais do meio cinematográfico, cujo mito maior está em acreditar que Fonoaudiologia atua apenas nos distúrbios. Por outro lado, haja talvez um desconhecimento dos fonoaudiólogos em relação às necessidades do meio e pouca ousadia em propor sua atuação
Boas, Denise Cintra Villas. "O sentido da expressividade oral na perspectiva do professor especializado na área da deficiência visual". Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/12222.
Texto completo da fonteCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
Aim: To investigate the attributed meaning to oral expressivity and its practice in the classroom of teachers of the visually impaired. Justification: Little attention is given to the teacher who works with special educational needs, especially among those whose voice is the mediation of what happens in the world, that is, teachers of blind students and/or low vision. This fact is confirmed by the lack of bibliography resources that address the issue. Theoretical and methodological aspects: Eight of the visually impaired participated in this research, divided into three groups: sighted teacher (GV), composed of four participants, teachers who have low vision (GVS), composed of two participants and blind teachers (GC), composed of two participants. Individual interviews were held with all the teachers who answered six semi-directed questions, previously compiled, which addressed the issue of communication between teacher and student in a classroom environment. The transcribed interviews were submitted to analysis, that considered the contents of the reports. Subsequent to the review process of the collected interviews, successive reading and the definition and design of this study, the first step was the establishment of categories, according to issues highlighted in the content of the answers. After defining the categories and organization of material, Maps of Associations of Ideas were produced that allowed the preservation of the interaction of the context and allowed the visualization of the inter-animation process in the face of questions, keeping intact the dialogical context. Results: The teacher of the visually impaired considers the voice as the main mean of communication with his students in the classroom. The teaching methods of these teachers are supporting the principles of providing all possible details and information about the content, adapted materials, guide as to the mobility, among others, through vocal and physical resources. There is the importance of interaction in the classroom, which is supported by vocal and physical resources (body language resources), between the teachers and the students, for clear and objective communication
Objetivo: Investigar o sentido atribuído à expressividade oral e sua prática em sala de aula, de professores especializados na área da deficiência visual. Justificativa: Pouca atenção é dada ao professor que trabalha com alunos que apresentam necessidades educacionais especiais, principalmente entre aqueles cuja voz faz a mediação do que acontece no mundo, ou seja, professores de alunos cegos e/ou de visão subnormal. Tal fato é confirmado pela escassez de fontes bibliográficas que tratam do assunto. Aspectos teórico-metodológicos: Participaram desta pesquisa oito professoras especializadas na área da deficiência visual, divididas em três grupos: professoras videntes (GV), composto por quatro participantes; professoras que apresentam visão subnormal (GVS), composto por duas participantes; e professoras cegas (GC), composto por outras duas participantes. Foram realizadas entrevistas individuais, com todas as professoras, que responderam seis perguntas semi-direcionadas, previamente elaboradas, abordando o tema da comunicação entre professor e aluno, no ambiente de sala de aula. As entrevistas transcritas foram submetidas a uma análise, que considerou os conteúdos dos relatos. Após o processo de análise das entrevistas coletadas por meio de sucessivas leituras e a definição e delineamento desse estudo, o primeiro passo foi o estabelecimento de categorias, de acordo com aspectos destacados no conteúdo das respostas, definidas da seguinte forma: Após a definição das categorias e organização do material, foram elaborados mapas de associação de idéias que permitiram a preservação da interação do contexto e possibilitaram a visualização do processo de interanimação diante das perguntas, mantendo o contexto dialógico intacto. Resultados: O professor especializado na área da deficiência visual considera a voz como principal meio de comunicação com seus alunos, em sala de aula. As práticas pedagógicas subsidiam-se nos princípios de fornecer todos os possíveis detalhes e informações a respeito do conteúdo, adaptar materiais, orientar quanto à mobilidade, entre outros, por meio dos recursos vocais e corporais. Observa-se a importância da interação em sala de aula, que é favorecida pelos recursos vocais e corporais, tanto das professoras quanto dos alunos e, mais pontual, por uma comunicação clara e objetiva
van, Stade Koenraad J. H. "Discovering Ideals of Expressivity and Artistry in 19th-Century Vocal Performance: Re-enacting Schumann’s Dichterliebe". Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29588.
Texto completo da fonteGuillou, Goulven. "Architecture multi-agents pour le pilotage automatique des voiliers de compétition et Extensions algébriques des réseaux de Petri". Phd thesis, Université de Bretagne occidentale - Brest, 2010. http://tel.archives-ouvertes.fr/tel-00559442.
Texto completo da fonteCadic, Didier. "Optimisation du procédé de création de voix en synthèse par sélection". Thesis, Paris 11, 2011. http://www.theses.fr/2011PA112076/document.
Texto completo da fonteThis work falls within the scope of text-to-speech (TTS) technology. More precisely, focus is on the voice creation process for unit-selection synthesis. In a standard approach, a textual script of several thousands of words is read by a speaker in order to generate approximately 5 to 10 hours of useable speech. The recording time is spread out over one or two weeks and is followed by the considerable task of manually revising the phonetic segmentation for all of the speech.Such a costly and time-consuming process presents a major obstacle to diversifying synthesized voices. In order to increase efficiency in this process, we introduce a new unit, called a "vocalic sandwich", to optimize coverage of the recording texts. Phonetically, this unit better addresses the segmental limitations of unit-selection TTS than state-of-the-art units (diphones, triphones, syllables, words...). Linguistically, a new set of contextual symbols focuses the coverage, allowing for more control and consideration of prosody. Practically, in order to automate the segmentation process, better anticipation of the phonetic and prosodic content desired in the final database is required. This is achieved here by increasing the readability and consistency of each sentence included in the script. As a side, these properties also help to facilitate the reading stage. Furthermore, as an alternative to the classic corpus condensation, a semi-automatic sentence building algorithm is developed in this work wherein sentences are built rather than selected from a reference corpus. Ultimately, the sentence building provides access to much denser scripts, specifically allowing for increases in density of between 30 and 40%.In incorporating these new approaches and tools, the voice creation process is made very efficient, as is validated in this work through the preparation and evaluation of numerous synthesized voices. Perceptive scores that are comparable to the traditional process are achieved with 40 minutes of speech (half-day recording) and without any manual post-processing. Finally, we take advantage of these results in order to enhance our synthesized voices with various expressive, multi-expressive and paralinguistic features
Chabot-Canet, Céline. "Interprétation, phrasé et rhétorique vocale dans la chanson française depuis 1950 : expliciter l’indicible de la voix". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20055.
Texto completo da fonteThe present thesis focuses on the study of the song not in its word and music dialectic but through the acquisition of a third entity : the vocal rendition. The point is to reveal its critical importance and richness and make it legitimate as a subject of study as the result of the implementation of a specific methodological and lexical protocol that allows the analysis – as with the composition – although its changeable nature is not conducive to theorizing. Considered as a complex object (according to Edgar Morin’s terminology), vocal rendition is submitted to the crossfire of various disciplines (musicology, linguistics, rhetoric, acoustics) in order to favour as far as it is possible its objectivization. Within the framework of musicology, the use of computer tools makes it possible to establish a complementarity between the perspectives of social sciences and exact sciences, to catch and analyse the peculiarities of the performances both in their dominant or agogic characters, their connexions to the score, their combinatorial complexity within the meta-parameters (timbre, rhythm, phrasing), as well as the dialogical tensions which run through them (variation and repetition, melodicity and noise integration, singing and speaking parts). Thanks to the existence of a large body of French-speaking singers (from Rive Gauche style to Nouvelle chanson française) it is possible by studying studio and concert recordings to grasp the irreducible specificity of everyone (what is issued from a unique body) as well as the great underlying networks of stylistic relationships. Disclosed by the semeiological perspective, around the notions of strategy and performance designs, vocal rhetoric, the way to induce pathos and to express ethos, there emerges a typology of performing styles that is open to considering the intrinsic originality of each performer and integrating further generic developments
Livros sobre o assunto "Voice expressivity"
Nemec, John. The Ubiquitous Siva Volume II. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566725.001.0001.
Texto completo da fonteBloom, Katya, Barbara Adrian, Tom Casciero, Jennifer Mizenko e Claire Porter. The Laban Workbook for Actors. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781474220705.
Texto completo da fonteWilson Kimber, Marian. Multiplying Voices. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0008.
Texto completo da fontePinzino, Mary Ellen. Giving Voice to Children's Artistry. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197606520.001.0001.
Texto completo da fonteLindsey, Treva B. Saturday Night at the S Street Salon. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252041020.003.0005.
Texto completo da fonteCapítulos de livros sobre o assunto "Voice expressivity"
Orlemanski, Julie. "Margery’s “Noyse” and Distributed Expressivity". In Voice and Voicelessness in Medieval Europe, 123–38. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-39706-5_8.
Texto completo da fonteRoberts, Michael Symmons. "Breath—As Subject, in Form, in Performance: An Interview with Michael Symmons Roberts". In The Life of Breath in Literature, Culture and Medicine, 507–26. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_24.
Texto completo da fonteFolkvord, Ingvild. "The Power of Voice Ernst Cassirer and Bertolt Brecht on Technology, Expressivity and Democracy". In Ernst Cassirer on Form and Technology, 161–80. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137007773_8.
Texto completo da fonte"Expressivity: tennis balls and more". In Voice and the Young Actor, 135–49. Bloomsbury Publishing Plc, 2012. http://dx.doi.org/10.5040/9781408166604.ch-011.
Texto completo da fonteApolloni, Alexandra M. "Introduction". In Freedom Girls, 1–22. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190879891.003.0001.
Texto completo da fonteSilva, MaryelleThayane Lins da, Bárbara Tayná Santos Eugênio da Silva Dantas, Ana Beatriz Santana de Morais, Cláudio da Cruz Santos, Giulia Alfredo Moreira e Aline Menezes Guedes Dias de Araújo. "PERCEPTUAL ASPECTS OF THE SPEECH EXPRESSIVITY OF TELEOPERATORS IN AN EMERGENCY CALL CENTER". In Professional voice: Integrated practices of teaching, research and university extension, 56–64. Atena Editora, 2022. http://dx.doi.org/10.22533/at.ed.6192230057.
Texto completo da fonteSilva, Mayra Hadassa Ferreira, Gabriella Lucena Feitosa, Cícera Geangela Alves Félix, Rebecka Victoria Ferreira de Sousa, Danilo Augusto de Holanda Ferreira e Patrícia Brianne da Costa Penha. "SELF-PERCEPTION OF THE EXPRESSIVITY OF THE TEACHER OF EARLY CHILDHOOD EDUCATION IN REMOTE EDUCATION". In Professional voice: Integrated practices of teaching, research and university extension, 20–28. Atena Editora, 2022. http://dx.doi.org/10.22533/at.ed.6192230053.
Texto completo da fonteStein, Deborah, e Robert Spillman. "Elements of Interpretation". In Poetryinto Song, 81–102. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195093285.003.0005.
Texto completo da fonteBashford, Christina. "Medium and Message". In Over Here, Over There, 15–36. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042706.003.0002.
Texto completo da fonteSinclair, Neil. "Mind-Independent Moral Truths and Categorical Moral Reasons". In Practical Expressivism, 191–217. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198866107.003.0008.
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