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Статті в журналах з теми "Popular voice"

Автор: Grafiati

Опубліковано: 14 березня 2024

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1

Karande, Pramod, Shubham Borchate, Bhavesh Chaudhary, and Prof Deveshree Wankhede. "Virtual Desktop Assistant." International Journal for Research in Applied Science and Engineering Technology 10, no. 3 (March 31, 2022): 1916–20. http://dx.doi.org/10.22214/ijraset.2022.41024.

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

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2

Ferragne, Emmanuel, Anne Guyot Talbot, Margaux Cecchini, Martine Beugnet, Emmanuelle Delanoë-Brun, Laurianne Georgeton, Christophe Stécoli, Jean-François Bonastre, and Corinne Fredouille. "Forensic Audio and Voice Analysis: TV Series Reinforce False Popular Beliefs." Languages 9, no. 2 (February 2, 2024): 55. http://dx.doi.org/10.3390/languages9020055.

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

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3

Kamps, Ivo, Annabel Patterson, and Michael D. Bristol. "Shakespeare and the Popular Voice." MLN 105, no. 5 (December 1990): 1085. http://dx.doi.org/10.2307/2905173.

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4

Kinney, Arthur F., and Annabel Patterson. "Shakespeare and the Popular Voice." Shakespeare Quarterly 42, no. 2 (1991): 234. http://dx.doi.org/10.2307/2870551.

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5

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

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

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6

Attig, R. Brian. "The Gay Voice in Popular Music:." Journal of Homosexuality 21, no. 1-2 (May 13, 1991): 185–202. http://dx.doi.org/10.1300/j082v21n01_13.

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7

Auner, Joseph. "‘Sing it for Me’: Posthuman Ventriloquism in Recent Popular Music." Journal of the Royal Musical Association 128, no. 1 (2003): 98–122. http://dx.doi.org/10.1093/jrma/fkg004.

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

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8

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

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

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9

PLASTINO, GOFFREDO. "Lazzari felici: Neapolitan song and/as nostalgia." Popular Music 26, no. 3 (October 2007): 429–40. http://dx.doi.org/10.1017/s0261143007001365.

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

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10

Strumbl, Melanie. "Voice, Affect, Grain: Their Relevance in Bodily Aesthetic Experience and Popular Singing Styles." Cultural History 7, no. 2 (October 2018): 205–25. http://dx.doi.org/10.3366/cult.2018.0174.

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

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11

Mansoori, Naveed. "Things Unheard: Popular Silence and the Popular Voice in Revolutionary Iran." Theory & Event 24, no. 2 (2021): 483–510. http://dx.doi.org/10.1353/tae.2021.0023.

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12

Boling, T. Edwin, and Erling Jorstad. "Popular Religion in America: The Evangelical Voice." Review of Religious Research 35, no. 3 (March 1994): 276. http://dx.doi.org/10.2307/3511895.

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13

Guth, James L., and Erling Jorstad. "Popular Religion in America: The Evangelical Voice." Sociology of Religion 55, no. 2 (1994): 213. http://dx.doi.org/10.2307/3711861.

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14

Sat, Batu, and Benjamin W. Wah. "Analyzing Voice Quality in Popular VoIP Applications." IEEE Multimedia 16, no. 1 (January 2009): 46–59. http://dx.doi.org/10.1109/mmul.2009.2.

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15

van Leer, Eva. "Using Popular Mobile Devices in Voice Therapy." Perspectives on Voice and Voice Disorders 23, no. 3 (November 2013): 82–87. http://dx.doi.org/10.1044/vvd23.3.82.

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Mobile tools are increasingly available to help individuals monitor their progress toward health behavior goals. Commonly known commercial products for health and fitness self-monitoring include wearable devices such as the Fitbit© and Nike + Pedometer© that work independently or in conjunction with mobile platforms (e.g., smartphones, media players) as well as web-based interfaces. These tools track and graph exercise behavior, provide motivational messages, offer health-related information, and allow users to share their accomplishments via social media. Approximately 2 million software programs or “apps” have been designed for mobile platforms (Pure Oxygen Mobile, 2013), many of which are health-related. The development of mobile health devices and applications is advancing so quickly that the Food and Drug Administration issued a Guidance statement with the purpose of defining mobile medical applications and describing a tailored approach to their regulation.

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16

Eskidere, Ömer, and Ahmet Gürhanlı. "Voice Disorder Classification Based on Multitaper Mel Frequency Cepstral Coefficients Features." Computational and Mathematical Methods in Medicine 2015 (2015): 1–12. http://dx.doi.org/10.1155/2015/956249.

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The Mel Frequency Cepstral Coefficients (MFCCs) are widely used in order to extract essential information from a voice signal and became a popular feature extractor used in audio processing. However, MFCC features are usually calculated from a single window (taper) characterized by large variance. This study shows investigations on reducing variance for the classification of two different voice qualities (normal voice and disordered voice) using multitaper MFCC features. We also compare their performance by newly proposed windowing techniques and conventional single-taper technique. The results demonstrate that adapted weighted Thomson multitaper method could distinguish between normal voice and disordered voice better than the results done by the conventional single-taper (Hamming window) technique and two newly proposed windowing methods. The multitaper MFCC features may be helpful in identifying voices at risk for a real pathology that has to be proven later.

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17

Watkins, Heather, and Richard Pak. "Investigating Underrepresented Perceptions of Inclusively Designed Voiced Automation." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 66, no. 1 (September 2022): 290–94. http://dx.doi.org/10.1177/1071181322661228.

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Consumers are increasingly interacting with automated systems for various purposes (e.g., smart speaker, vehicle control). One of the most popular ways they communicate with these systems is via the spoken auditory channel (listening and speaking). However, most of these systems tend to default to a female voice. In addition, many specifically use a White-sounding female voice. While prior work has investigated how attributes of age and gender influence perceptions of voiced automation, an additional vocal attribute of humanness has not been well researched -race. The specific goal of this project is to examine how more inclusively designed AI voices (e.g. exhibiting attributes of race) affect Black users’ attitudes toward autonomous technology. Results are expected to show more preferential attitudes when automation exhibits similar vocal attributes to the user. Findings will add to our understanding of how a deliberately more inclusive design affects an underrepresented population’s attitudes toward technology.

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18

Meng, Jinhao. "Reasearch of Current Popular Meme --- "otto"." International Journal of Education and Humanities 11, no. 3 (November 30, 2023): 59–61. http://dx.doi.org/10.54097/ijeh.v11i3.14456.

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Through the literature research and data analysis, the characteristics and motivations of sub-culture tribes are explored in this paper. Research on the hot meme "otto" found that it is popular by the curse of League of Legends professional player "otto" in the games and live streaming, and developed in various branches, such as "shuo de dao li", "chestnut hairstyle" and re-created works of the voice of "otto", mainly the singing with his voice. It is found that the users use the sub-culture meme mainly to meet their novelty-seeking demands and the pursuit of new venting means. It is found that youth under the age of 35 are seeking novelty and value guidance.

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19

Mitchell, Liam. "Damsels Who Distress." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 63–93. http://dx.doi.org/10.1215/02705346-8359518.

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Female figures routinely appear in popular fiction as ostensibly critical correctives to masculinity who can inadvertently retrench problematic divisions between “Woman” and “Man.” In video games, these figures are often aural rather than visual; whether they are off-screen narrators, nonplayer characters, framing devices, or divinities, players regularly hear voices without seeing their source. While many games leave voices off-screen for reasons of technical and economic constraint, developers may restrict voices in this manner for other reasons as well—or at least with other consequences. The voice is a particularly potent site for the production of sexual difference, and the restriction of the female voice to relatively narrow protocols can result in the reduction of female characters to mere agential functions. This article offers brief critical readings of the acousmatic female voice in five recent games—BioShock (2007), Gone Home (2013), The Stanley Parable (2013), The Talos Principle (2014), and Firewatch (2016)—that illustrate the complicated connections between gender, games, technology, and the political. It then turns to the work of Super-giant Games, a small developer responsible for four critical and popular successes. Rather than reducing women’s voices to agential player functions, Supergiant’s first two games, Bastion (2011) and Transistor (2014), pose these voices as an affirmation of the characters’ agency. Moreover, because of the distressing character of this affirmation for certain players, Supergiant at first represses these characters’ speech. Although they are rendered voiceless, they are anything but powerless.

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20

Eidsheim, Nina S. "An analytical framework and model for de-racializing vocal perception." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A99. http://dx.doi.org/10.1121/10.0010782.

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Based on 20 years of research into vocal techniques, vocal styles, pedagogy, and history with reference to opera, popular music, and music synthesis software, I have developed a framework that seeks to explain racialized perceptions of the singing voice. On one hand, my model accounts for voice as an ever-developing instrument affected by age, hormones, environment, culture, and vocal training (whether through formal voice lessons or everyday encounters’ largely tacit feedback). On the other hand, it also accounts for perception as equally dynamic and culturally dependent. It recognizes that the voice and its perception together constitute a “thick event,” and that the complexity of the vocal signal and the ways in which listeners interact with voices are so numerous and so complex that a speaker’s race cannot be defined by the signal. In other words: Voice is not singular; it is collective. Voice is not innate; it is cultural. Voice’s source is not the singer; it is the listener. By applying this analytical model to musical case studies, this paper argues that voices are racialized when they are believed to sound a person’s essence or true identity.

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21

Coupland, Nikolas. "Voice, place and genre in popular song performance1." Journal of Sociolinguistics 15, no. 5 (November 2011): 573–602. http://dx.doi.org/10.1111/j.1467-9841.2011.00514.x.

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22

Crozier, Michael P., and Adrian Little. "Democratic Voice: Popular Sovereignty in Conditions of Pluralisation." Australian Journal of Political Science 47, no. 3 (September 2012): 333–46. http://dx.doi.org/10.1080/10361146.2012.704002.

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23

Noble, Fiona. "New feminist voices in Spanish audio-visual cultural production: Vis a vis (Locked Up) (Antena 3 and Globomedia, 2015–19) and La casa de papel (Money Heist) (Antena 3 and Netflix, 2017–21)." Journal of European Popular Culture 13, no. 2 (October 1, 2022): 83–102. http://dx.doi.org/10.1386/jepc_00044_1.

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This article maps an emerging engagement with intersections amongst gender, voice/sound and feminism in the context of contemporary Spanish audio-visual cultural production. I locate the voice at the nexus of contemporary feminisms as these manifest through popular, public and theoretical means. Taking two recent internationally successful Spanish series (Vis a vis [Locked Up] and La casa de papel [Money Heist]) as examples, I contend that female voices and their treatment within contemporary Spanish audio-visual cultures constitute an important site within which female subjectivities emerge and are claimed. I analyse the importance of gender representations on- and off-screen in these works and attend to the use of music and voice-over in these shows as exemplifying the contradictory character of the voice within contemporary feminisms, both in and beyond Spain.

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24

Sharma, Khushboo, Disha Bahal, Aman Sharma, Ankita Garg, and Neeta Verma. "REVIEW ON ARA- A VOICE ASSISTANT FOR DISABLED PERSONALITIES." International Journal of Engineering Applied Sciences and Technology 7, no. 1 (May 1, 2022): 172–75. http://dx.doi.org/10.33564/ijeast.2022.v07i01.026.

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This paper illustrates the implementation of our proposed voice assistant that provides assistance to disabled personalities over the website. ARA-the voice assistant is a software agent that can interpret human speech and respond via synthesized voices. The most popular voice assistants which can all be found on smart phones and dedicated speakers. As voice assistants become more widely used, but have complex functionality and only open when we click the mic option, this will start on voice command, easier for the people who are blind or have cognitive disabilities. ARA will read out the content of the website and then using speech to text and text to speech modules along with selenium, our software can automate any website. The designed voice assistance connects with the intended applications to provide results that the user has demanded. The objective of this paper is to illustrate how voice assistants are used in everyday life with minimal efforts and to explore whether there is potential for making them accessible for people with disabilities.

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25

Sharma, Khushboo, Disha Bahal, Aman Sharma, Ankita Garg, and Neeta Verma. "ARA- A Voice Assistant for Disabled Personalities." International Journal of Engineering Applied Sciences and Technology 7, no. 1 (May 1, 2022): 106–9. http://dx.doi.org/10.33564/ijeast.2022.v07i01.015.

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Анотація:

This paper illustrates the implementation of our proposed voice assistant that provides assistance to disabled personalities over the website. ARA-the voice assistant is a software agent that can interpret human speech and respond via synthesized voices. The most popular voice assistants are Siri, Alexa, Cortana, and Google Assistant, which can all be found on smart phones and dedicated speakers. As voice assistants become more widely used, but have complex functionality and only open when we click the mic option, this will start on voice command, easier for the people who are blind or have cognitive disabilities. ARA will read out the content of the website and then using speech to text and text to speech modules along with selenium, our software can automate any website. The designed voice assistance connects with the intended applications to provide results that the user has demanded. The objective of this paper is to illustrate how voice assistants are used in everyday life and to explore whether there is potential for making them accessible for people with disabilities.

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26

Glazer, Lee, and Susan Key. "Carry Me Back: Nostalgia for the Old South in Nineteenth-Century Popular Culture." Journal of American Studies 30, no. 1 (April 1996): 1–24. http://dx.doi.org/10.1017/s0021875800024294.

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Nostalgia for an idyllic antebellum South permeated both cultivated and vernacular arts in post-Reconstruction America. Bock's popular mode, along with his fictional persona and artificial dialect, contrasts with Bagby's high-minded autobiographical voice, but both the Northern purveyor of popular ballads and the Southern man of letters look back longingly to the same idealized past. While it is not surprising that writings of the fallen Southern aristocracy should resonate with nostalgia, the nostalgic voices of Northerners pretending to be former slaves are less comprehensible. Yet both men's memories of the Old South proved marketable.

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27

Ferrell, Tara, Aaron Crowson, and Christopher Mayhorn. "How We Perceive and Trust Advice from Virtual Humans: The Influence of Voice Quality." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 66, no. 1 (September 2022): 1189–93. http://dx.doi.org/10.1177/1071181322661440.

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Due to the increase in virtual humans as a pedagogical agent, this study investigates how perceptions of virtual humans are affected by voice quality in understanding a budgeting scenario where trust is essential to learning and application. Eighty-six participants were randomly assigned to three conditions where voice quality for a virtual human varied (human voice, low quality text-to-speech, high quality text-to-speech) when narrating a financial literacy course. Measures of trust and course comprehension were collected. Results of the learning assessment suggest no difference in comprehension based on voice quality of a virtual human. No differences were observed between the voice quality groups in participants' perception of trust, the abilities to facilitate learning, credibility of the agent, human-likeness of the agent, or how engaging the agent was. This is possibly due to the lower age demographic who have become increasingly exposed to virtual human voices through popular platforms such as Tik-Tok.).

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28

Pfleiderer, Martin. "Vocal pop pleasures. Theoretical, analytical and empirical approaches to voice and singing in popular music <br> doi:10.5429/2079-3871(2010)v1i1.7en." IASPM Journal 1, no. 1 (April 8, 2010): 1–16. http://dx.doi.org/10.5429/301.

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Voices and vocal expression play a crucial role in popular music. Voices are linked immediately to the human body and various affective states. But vocal expression could be conventionalized and conventionalized and manipulated deliberately by the learned cultural patterns of expression too -- in everyday speach as well as in music. Two approaches to investigate voice and singing in popular music are outlined: Firstly, an analytical approach is illustrated by a characterization of a vocal performance by Ray Charles, using transcriptions and spectrograms. Secondly, an empirical approach to the effects of vocal performances is illustrated by listeners surveys asking for ascriptions of emotions and personality traits to music excerpts.

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29

Jafari, Belgheis Alavi, and Liza Schuster. "Representations of exile in Afghan oral poetry and songs." Crossings: Journal of Migration & Culture 10, no. 2 (October 1, 2019): 183–203. http://dx.doi.org/10.1386/cjmc_00002_1.

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In our examination of the representations of exile in Afghan popular culture, we focus in particular on popular poetry and song lyrics in Farsi, one of the national languages of Afghanistan. This article concentrates on the voices of exiles, their self-representation and their descriptions of life far from their homeland. We argue that, in addition to offering catharsis and expressing collective suffering, the verses are also used to urge return and, more recently, to voice complaints to and about host societies, as well as to critique the Afghan government for its failures.

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30

Hodgetts, William, Qi Song, Xinyue Xiang, and Jacqueline Cummine. "On a Vector towards a Novel Hearing Aid Feature: What Can We Learn from Modern Family, Voice Classification and Deep Learning Algorithms." Applied Sciences 11, no. 12 (June 18, 2021): 5659. http://dx.doi.org/10.3390/app11125659.

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(1) Background: The application of machine learning techniques in the speech recognition literature has become a large field of study. Here, we aim to (1) expand the available evidence for the use of machine learning techniques for voice classification and (2) discuss the implications of such approaches towards the development of novel hearing aid features (i.e., voice familiarity detection). To do this, we built and tested a Convolutional Neural Network (CNN) Model for the identification and classification of a series of voices, namely the 10 cast members of the popular television show “Modern Family”. (2) Methods: Representative voice samples were selected from Season 1 of Modern Family (N = 300; 30 samples for each of the classes of the classification in this model, namely Phil, Claire, Hailey, Alex, Luke, Gloria, Jay, Manny, Mitch, Cameron). The audio samples were then cleaned and normalized. Feature extraction was then implemented and used as the input to train a basic CNN model and an advanced CNN model. (3) Results: Accuracy of voice classification for the basic model was 89%. Accuracy of the voice classification for the advanced model was 99%.; (4) Conclusions: Greater familiarity with a voice is known to be beneficial for speech recognition. If a hearing aid can eventually be programmed to recognize voices that are familiar or not, perhaps it can also apply familiar voice features to improve hearing performance. Here we discuss how such machine learning, when applied to voice recognition, is a potential technological solution in the coming years.

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31

Appleyard, Bryan. "Popular Culture and Public Affairs." Royal Institute of Philosophy Supplement 45 (March 2000): 97–104. http://dx.doi.org/10.1017/s1358246100003337.

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Recently I saw a corporate TV advertisement for the American television network ABC. It showed brief shots of people in other countries—France, Japan, Russia and so on. These people were doing all kinds of things, but they weren't watching television. Americans, the commentary told us, watch more TV than any of these people. Yet America is the richest, most innovative, most productive nation on the planet. ‘A coincidence’, concluded the wry, confident voice, ‘we don't think so’.

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Stackhouse,, John G. "Popular Religion in America: The Evangelical Voice. Erling Jorstad." Journal of Religion 75, no. 1 (January 1995): 173. http://dx.doi.org/10.1086/489562.

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Salverson, Julie. "“Playing With Tension” What ‘voice’ does popular theatre speak?" Canadian Theatre Review 78 (March 1994): 4–7. http://dx.doi.org/10.3138/ctr.78.001.

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Popular theatre makes strange bedfellows: artists and activists, cultural workers and community organizers, theatre and social action. I found myself in this world by accident in 1982, writing a play about people who were handicapped. They ended up making their own play, with me acting more as dramaturge than playwright, and I became excited by the notion of ordinary people telling their stories. I left the so-called mainstream theatre, started a community arts company in Toronto1 and began putting my theatre friends together with community workers I was meeting to see what would happen. I learned about popular education. I wandered into a community legal clinic to encorporate the company, and met activist and dub poet Lillian Allen who was working there at the time. When I told her what I was up to, she said, “Oh, you do popular theatre.” “What’s that?” I asked.

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Sconce, Jeffrey. "The Voice from the Void." International Journal of Cultural Studies 1, no. 2 (August 1998): 211–32. http://dx.doi.org/10.1177/13678779980010020401.

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This piece examines the proliferation of paranormal discourses around wireless and radio in the early decades of the century. Engaging popular fiction and parapsychological literature of the era, the article gives particular emphasis to the period's reigning image of ‘the etheric ocean’, discussing the symbolic importance of this metaphor in stories casting radio as a medium of the dead and of telepathy. Linking these often sinister stories to the vast social transformations of modernity, the article argues that the generally enthusiastic reception of the new medium was tempered by these occult stories of death, despair, and separation. Even as popular culture celebrated radio as a means of creating new electronic communities, there remained a subtext of atomization and alienation in the new technology. The article argues, in closing, that this paradox has continued to inform speculative, paranormal accounts of telecommunications across the century.

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Bylkova, Svetlana V. "Models of representing an astronomer’s voice in a journalist’s popular judgment." Current Issues in Philology and Pedagogical Linguistics, no. 2(2021) (June 25, 2021): 199–211. http://dx.doi.org/10.29025/2079-6021-2021-2-199-211.

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Within the framework of this article, the starting point of the research is the theoretical position, according to which reports on discoveries and achievements in the field of astronomy appear as a frequency phenomenon, covered in specialized popular scientific texts. As a result, a pragmatic analysis of the source of information and ensuring access to the voices of astronomer researchers in a journalistic report is an urgent problem. The personality of the journalist acts as an intermediary between scientists and non-professional readers, whose knowledge of astronomy is limited, and the created popular science texts are a kind of communication platform for voicing the judgments that are put forward by representatives of the astronomical communities. In this regard, journalists not only supplement the reader’s knowledge in an accessible form, but also open access to the voices of representatives of the scientific and astronomical community, relying on such means as direct and indirect speech, which reveal different degrees of frequency in the first paragraph of the text and in the subsequent presentation. To systematize the actual data indicating the explicit labeling of the source of information in a popular science message, the most frequent language signals that are used by journalists in order to introduce a «foreign» voice into the text (predicates that introduce direct or indirect speech) are analyzed. As a result, models and indicators of their frequency were identified, this, in turn, provided an opportunity to trace the trends in voicing the expert astronomers’ opinions in a popular scientific text. It is established that the distribution of direct and indirect speech with explicit marking of the source of information in the first paragraph of the popular science text is not homogeneous. In this text segment, indirect speech is the most frequent, which allows the journalist to focus the reader’s attention on an unbiased vision of a scientific and astronomical event.

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Bakić-Mirić, Nataša, Anita Janković, and Nadežda Stojković. "Popular culture and intercultural communication: The voice and the echo." Zbornik radova Filozofskog fakulteta u Pristini 52, no. 2 (2022): 13–28. http://dx.doi.org/10.5937/zrffp52-33920.

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The primary goal of popular culture as the dominant form of culture in the 21st century should be to unite people in a cultural synergy. Popular culture as such should insist on the richness of diversity, not on stereotypes, which is the case today. This paper will analyze the concepts of communication, culture, intercultural communication, cultural imperialism as well as the influence of popular culture on intercultural communication. Popular culture is a key component in creating a social identity in the 21st century. It provides a sense of belonging and togetherness to people around the globe. That is why they rely on popular culture to understand the world around them, and for most people, the view of the world exists only through the prism of popular culture. Although popular culture could be a hybrid space for bringing cultures closer, this is impossible today because the media deepens the gap between cultures with negative stereotypes by looking at other cultures through their own cultural prism. In order for cultures to come closer to one another, the media must be comprehensive in the way they present images in the broad category of meanings of the concepts of 'culture', 'race' and 'nation' so that people understand that culture exists on multiple levels of complexity, while popular culture presents a superficial (visible) part of culture based on which people mistakenly form a perception of a culture, which can be the cause of misunderstandings in intercultural communication.

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37

Masi, Leonardo. "Fellini and Popular Music." Załącznik Kulturoznawczy, no. 9 (2022): 447–62. http://dx.doi.org/10.21697/zk.2022.9.22.

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Through some examples taken from Nights of Cabiria, La Dolce Vita and The Voice of the Moon, the essay explores Federico Fellini’s attitude towards popular music, which plays a particularly relevant and original role in his films. Characters like Cabiria or Salvini identify themselves with popular music and are immersed in its particular taste, in contrast with other characters represented by classical music (Lazzari, Steiner, Gonnella). Popular music appears in some key moments of the three films and comes to unblock a stalemate on the level of the plot. Moreover it often creates “magical” moments in which the fourth wall is torn down and diegetic and extra-diegetic levels are messed up.

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38

Monod, David. "DOUBLE-VOICED: MUSIC, GENDER, AND NATURE IN PERFORMANCE." Journal of the Gilded Age and Progressive Era 14, no. 2 (April 2015): 173–93. http://dx.doi.org/10.1017/s1537781414000784.

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AbstractDouble-voiced singing was a popular form of variety show entertainment from the 1860s through to the 1920s. Double-voiced performers were able, through intonation and tone, to sound as though they had at least two separate and distinct “voices,” generally one soprano and one baritone. But as Claire Rochester, a double-voiced singer of the early twentieth century made clear, their act was more than just a matter of a woman singing low notes or a man singing high ones; it was all about a performer adopting the “voice” of the other sex. The unusual practice of these singers was to sing duets (and sometimes as much as quartets) to themselves and by themselves, flipping back and forth between their male to female “voices.” I place this strange form of entertainment in the context of changing attitudes to gender and sexuality and suggests that conventional interpretations of “freak” performances as “transgressive” fail to account for these vocal wonders. Double-voiced singers shunned the “transgressive” billing, especially when their own sexual identity was called into question. In making this argument, I suggest that we need to widen our understanding of “freakery,” imposture and the meaning of “nature” and “truth,” as they were revealed both on stage and off.

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39

Fink, Steven, and Nancy Ruttenberg. "Democratic Personality: Popular Voice and the Trial of American Authorship." New England Quarterly 73, no. 1 (March 2000): 163. http://dx.doi.org/10.2307/366751.

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40

Hamelman, Steven. "Democratic Personality: Popular Voice and the Trial of American Authorship." Studies in American Fiction 27, no. 2 (1999): 245–47. http://dx.doi.org/10.1353/saf.1999.0000.

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41

Higginson, Pim. "Popular perceptions: voice and genre in Félix Couchoro’s crime fiction." Journal of Postcolonial Writing 49, no. 1 (February 2013): 87–99. http://dx.doi.org/10.1080/17449855.2012.743736.

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42

Wani, Aijaz Ashraf. "The Popular Voice: Secular-Progressive Discourse in Kashmir (1932–47)." Indian Historical Review 34, no. 1 (January 2007): 244–69. http://dx.doi.org/10.1177/037698360703400110.

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43

Shannon, Dennis M., Nancy Ruttenberg, and Edward Watts. "Democratic Personality: Popular Voice and the Trial of American Authorship." Journal of the Early Republic 20, no. 1 (2000): 148. http://dx.doi.org/10.2307/3124839.

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44

Buell, Lawrence, and Nancy Ruttenburg. "Democratic Personality: Popular Voice and the Trial of American Authorship." South Atlantic Review 64, no. 2 (1999): 170. http://dx.doi.org/10.2307/3201992.

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45

Georgakarakou, Maria. "The Impact of Blindness on the Physical and Vocal Development of Visually Impaired Singers." Journal of Singing 80, no. 1 (August 15, 2023): 35–41. http://dx.doi.org/10.53830/sqsg7980.

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Traditionally, music has been viewed as the quintessential non-visual art. In past centuries, a handful of blind individuals became renowned composers, singers, or organists. In fact, popular culture helped form a rather inaccurate relationship between blindness and music to the extent that visually impaired people are often expected to excel by default in the musical arts. In some cultures, parents tend to automatically choose music as their blind child’s ideal vocation. As a totally blind professional singer and voice pedagogue herself, the author has evaluated a significant number of young, visually impaired vocalists who seemed unable to use their voices as reliable instruments. Researchers have found that blindness affects the developmental stages of a person with regard to posture, gross motor skills, and muscle development and coordination.1 As a voice instructor, the author finds that visually impaired youths whose developmental stages have deviated from the norm must follow a specially designed curriculum in order to effectively learn the psycho-motor aspects of vocal technique. The goal of this article is to illuminate a path that voice teachers may follow to ensure that their blind students can maintain healthy voices and engage in rewarding singing.

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MATIUSHCHENKO, Oleh, and Ganna ZAVOLODKO. "EXPERIENCE USING VOICE ASSISTANTS." ITSynergy, no. 1 (November 30, 2021): 5–9. http://dx.doi.org/10.53920/its-2021-1-1.

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Natural user interfaces are becoming popular. One of the most common today is interfaces with activated voice, including smart personal assistants such as Google Assistant, Alexa, Cortana, Siri, Alice, Bixby, Mycroft. This article presents the results of their evaluation in three dimensions: capabilities, language support, and how natural responses users experience. Evaluations were performed by analyzing existing reviews. The results show that Alexa and Google Assistant are much better than Siri and Cortana. However, there is no statistically significant difference between Alexa and Google Assistant, and neither of them integrates into modern messengers with a note-taking function, which is a significant disadvantage of such devices.

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47

Fadlallah, Hussein, and Robert A. Phillips. "Governance of Voice in Digital Platforms." Proceedings of the International Association for Business and Society 31 (2020): 24–36. http://dx.doi.org/10.5840/iabsproc2020314.

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We study the governance of voice in digital platforms in light of contestations and struggles over meaning and resources among their stakeholders. In particular, we argue that social media platforms as fields are subject to power imbalances that might constrain the voices of marginalized and under-represented individuals and groups. Consequently, the governance decisions that private firms (i.e. platform owners) undertake are critical in providing users and communities with the capacity to self-present and identify. Through a qualitative longitudinal study of a popular social media platform, we study the means through which a marginalized community leverages the governance tools at its disposal to overcome the contestation within the platform. We present implications for the governance of digital platforms and their evolution.

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Rahmi, Mauliddhea Sakina, Nandang Rahmat, and Amaliatun Saleha. "POSTHUMAN IN JAPANESE POPULAR CULTURE: VIRTUAL IDOL HATSUNE MIKU." AICLL: ANNUAL INTERNATIONAL CONFERENCE ON LANGUAGE AND LITERATURE 1, no. 1 (April 17, 2018): 81–86. http://dx.doi.org/10.30743/aicll.v1i1.12.

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Idol is a popular young entertainer in Japan. The development and changes of idol’s generation are pretty fast because of the fan’s demands for perfect idols that meet their desire. The strategy to fulfill the demands of the idol which have deficiency (as a human) is to make virtual idols. Their presence started to replace idol, which means virtual idol is part of the product of Japanese’s popular culture. This research is intended to descript the virtual idol’s posthuman value as a virtual product that mixed with human reality. The object of this research is Hatsune Miku’s concert Magical Mirai 2016. She is one of the virtual idol who is still developing until now. This research used cultural studies approach and cybersemotic method (Piliang, 2010) to read Hatsune Miku’s posthuman value. The result of the study shows Hatsune Miku has posthuman value manifested on her appearance and voice. The posthuman values illustrated on Miku are her appearance that shows Japanese young women ideal body and her voice which can be controlled by anyone who has the software.

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Giudice, Christian. "‘The Master’s Voice’." Aries 20, no. 1 (January 22, 2020): 55–80. http://dx.doi.org/10.1163/15700593-02001003.

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Abstract Occultism has been present in popular music since the 1960s, but genuine occult content has been lacking in chart-topping bands, relegating more serious interactions between esoteric message and music to underground phenomena. An exception to this trend is Franco Battiato, who has sold in excess of three million records, one million of his masterpiece, La Voce del Padrone (The Voice of the Master, 1981), alone. This article analyses Battiato’s method of communicating occult lore through coded words, which couch esoteric meaning in exoteric forms of expressions. The article provides a substantial analysis of Battiato’s career, including his spiritual research through the works of Sufi masters, René Guénon and, especially, the teachings of the Armenian mystic G.I. Gurdjieff. Through a textual analysis of Battiato’s lyrics of his most mystical works (1979–1982), I aim to identify the Italian songwriter’s hidden references to the works of Gurdjieff and his disciple P.D. Ouspensky, proving that Battiato represents a rare case of a pop musician whose works are informed by occult knowledge, and who wants to communicate this hidden lore to listeners.

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Kirkbride, Jasmin. "Cohesive Plurality." Logos 31, no. 2 (September 4, 2020): 52–56. http://dx.doi.org/10.1163/18784712-03102005.

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Following Peter Elbow’s work on ‘resonant voice’ or ‘presence’, this essay examines the seldom-explored resonance between a text and its writer in the moment of its creation. The essay asks what the boundaries and content of this space might look like, and how this knowledge might positively affect the creative product. It challenges the popular search for a writer’s ‘voice’, instead positing that each writer has a perpetually shifting internal plurality of voices, which unifies the constructivist and social constructionist views of the self. By arguing that the resonance between writer and writing is the experience of this plurality coming to harmony, the essay posits that to create such a resonance involves a balance of simultaneously relinquishing control to the internal choir and learning how to better conduct it.

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