Дисертації: "Sound repetitions"

1

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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2

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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3

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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4

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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5

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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6

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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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.

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.

Master of Science

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7

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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8

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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9

Cousin-Martin, Daphné. "Τraduire l'οuie 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
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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10

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.
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.

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11

Beeferman, Leah. "JOURNEYS INTO THE UNKNOWN: A SERIES OF SCIENCE ARCHITECTURE TASKS AND EVENTS, SPACE-BOUND EXPLORATIONS AND FAR-TRAVELS, DISCOVERIES AND MISSES (NEAR AND FAR), IMAGINATIVE SPACE-GAZING AND RELATED INVESTIGATIONS, OBSERVATIONS, ORBITS, AND OTHER REPETITIOUS MONITORING TASKS." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2164.

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This thesis expansively and inclusively puts forth the imaginings, research, processes and experiences behind my two thesis exhibitions, "Journeys into the unknown: a series of science architecture tasks and events, space-bound explorations and far-travels, discoveries and misses (near and far), imaginative space-gazing and related investigations, observations, orbits, and other repetitious monitoring tasks" and "Timed travel: asystematic accounts of regular and geometrical timekeeping, orbital flight, repetitive rotations and other journeys into actual time and slow space." It begins with an abstract interpretation of the dial: a tool not limited to scientific measurement but, instead, a gauge of an object’s overall position and general status. Equal parts scientific information, abstracted and fictionalized instruments and facts, and the personal experiences which provided these concrete informational elements with psychological and metaphorical meaning, this document is as much a record of time as it is an elucidation of my artistic practice and methodology.

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12

Mai, Nadin. "The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22990.

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Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.

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13

HSU, CHUNG-TING, and 徐崇婷. "The Performance of Nonword Repetition for Preschool Children with Speech Sound Disorders." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/6549ty.

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碩士
國立高雄師範大學
特殊教育學系
105
The purpose of this study was to investigate the relationship between the performance of nonword repetiton, speech perception, articulatory accuracy and working memory for preschool children with speech sound disorders(SSD). There were 16 SSD children and 16 age-matched normal children recruited. Two methods (CP and EP method) were used to scoring the nonword repetiton task. The substitutions, omissions, distortions and additions of sounds were scored as incorrect with CP(comprise phonological processing) scoring method, while for EP(exclude phonological processing) scoring method, the sound errors with the same phonological processing of the children were excluded. 　　The results showed that the nonword repetiton’s correct rate of children with SSD was significantly lower than children with typical language developed when scored by CP method. Children achieved the highest correct rate in syllable-initial position, and the lower correct rate syllable-medial position. As the syllable length of nowords increased, the correct rates of nonword repetition significantly decreased. The correct rate didn’t affect by the tone changed. Our findings indicated that children’s nonword repetiton performance were moderately correlated with articulatory accuracy, speech perception and working memory capacity. Moreover, Children’s nonword repetiton accuracy could be predicted by working memory capacity, receptive vocabulary and articulatory accuracy. These findings suggest that working memory capacity is the major factor contributing to the children’s performance of nonword repetiton.

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14

Williams, Matthew Llewellyn. "The relationship between sound and content in Latin poetry." Thesis, 2004. http://hdl.handle.net/2440/37945.

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This dissertation examines the relationship between phonetic sound and content in Latin poetry, with a focus on Books 1-3 of Horace's Odes. The central argument is that a relationship exists between sound and content in poetry, that this can be analysed and described more thoroughly and systematically than is usually the case, and that the appreciation of poetry can be enhanced by doing so. Part 1 presents a scheme for describing the sound-content relationship, and argues that this accurately reflects the perceptions of poetic audiences and is psychologically valid. The scheme begins with the concept of the 'sonance', defined as any set of sounds that renders a passage sonically noteworthy. Sonances that relate to content are classified either as 'harmonic sonances', which relate to content due to the properties of the relevant sounds, or 'repetitive sonances', which relate to content purely due to the repetition (including patterning or contrasting) of sounds, regardless of their properties. Harmonic sonances, it is argued, may relate to content through four 'harmonies', depending on whether acoustic or articulatory properties are involved and whether the relationship is one of similarity between property and content or a more distant 'metaphor'. Repetitive sonances may relate to content by several different means, or 'modes of repetition'. Part 2 presents a simple method of numerical analysis which may be applied to the text by computer to extract passages that are relatively likely to contain a sonance, and briefly discusses the process of assessing these results, identifying further sonances by more natural means, and relating each sonance to the relevant content. As an essential preliminary to such matters, Latin phonetics and phonology are also discussed in detail. Parts 3 and 4 present the results of applying these resources of assessment and description to the text, to demonstrate the type of poetic appreciation which may thus be gained. Part 3 consists of two catalogues of harmonic and repetitive sonances taken from the whole of Odes 1-3. Part 4 is a specific examination of two entire odes in much greater detail.
Thesis (Ph.D.)--Humanities, 2004.

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15

Williams, Matthew Llewellyn. "The relationship between sound and content in Latin poetry." 2004. http://hdl.handle.net/2440/37945.

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This dissertation examines the relationship between phonetic sound and content in Latin poetry, with a focus on Books 1-3 of Horace's Odes. The central argument is that a relationship exists between sound and content in poetry, that this can be analysed and described more thoroughly and systematically than is usually the case, and that the appreciation of poetry can be enhanced by doing so. Part 1 presents a scheme for describing the sound-content relationship, and argues that this accurately reflects the perceptions of poetic audiences and is psychologically valid. The scheme begins with the concept of the 'sonance', defined as any set of sounds that renders a passage sonically noteworthy. Sonances that relate to content are classified either as 'harmonic sonances', which relate to content due to the properties of the relevant sounds, or 'repetitive sonances', which relate to content purely due to the repetition (including patterning or contrasting) of sounds, regardless of their properties. Harmonic sonances, it is argued, may relate to content through four 'harmonies', depending on whether acoustic or articulatory properties are involved and whether the relationship is one of similarity between property and content or a more distant 'metaphor'. Repetitive sonances may relate to content by several different means, or 'modes of repetition'. Part 2 presents a simple method of numerical analysis which may be applied to the text by computer to extract passages that are relatively likely to contain a sonance, and briefly discusses the process of assessing these results, identifying further sonances by more natural means, and relating each sonance to the relevant content. As an essential preliminary to such matters, Latin phonetics and phonology are also discussed in detail. Parts 3 and 4 present the results of applying these resources of assessment and description to the text, to demonstrate the type of poetic appreciation which may thus be gained. Part 3 consists of two catalogues of harmonic and repetitive sonances taken from the whole of Odes 1-3. Part 4 is a specific examination of two entire odes in much greater detail.
Thesis (Ph.D.)--Humanities, 2004.

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16

Aragon, Racheal. "Re-sounding Harlem Renaissance narratives : the repetition and representation of identity through sound in Nella Larsen's Passing and Toni Morrison's Jazz." Thesis, 2013. http://hdl.handle.net/1957/38187.

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The cultural and historical construction of African American identity in the United States has been closely tied to the dialectical relationship formed between sound and silence. This thesis examines the modernist and postmodernist representation of sound and silence in the African American novels Passing (1929), by Nella Larsen, and Jazz (1992), by Toni Morrison, as indicators of African American identity and racial oppression during the Harlem Renaissance. I analyze the soundscapes of both texts to expose the mobility of language, power, and space, especially as these soundscapes relate to the production of sound (both musical and non-musical) by African Americans, and the surveillance of these sounds by white audiences. Through my analysis of repetitive sound-images and embodied silence in Passing and Jazz, as well as textual representations of oral performance, I argue that there is harm in restricting African American voices to approved modes of audibility and/or limiting African American voices to one a singular narrative. This thesis introduces critics and theories from the disciplines of sound studies and African American studies, and applies the widely known theory of double consciousness, established by critic and author W.E.B. Du Bois, as the foundation for my literary and cultural analysis of sound in print.
Graduation date: 2013

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17

Brickey, Alyson. ""The little twist of sound could have the whole of her:" silence, repetition, and musicality in Virginia Woolf's "Between the Acts" and Gertrude Stein's "The Mother of Us All"." 2010. http://hdl.handle.net/1993/4100.

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This thesis tracks an alternative trajectory for thinking about the way in which modernist texts incorporate silence as an aesthetic and a theme, one that departs from those currently favoured by contemporary modernist criticism. Particularly, I wish to move away from the prevailing approach to Virginia Woolf's texts that borders on biographical criticism, an approach that theorizes silence as indicative of the author's trauma, pointing to that which is 'unsayable' as evidence of some psychically unassimilable event. Instead, I argue that by experimenting with an aesthetics of silence, repetition, and musicality, Woolf is participating in a wider cultural debate. With Between the Acts, I believe she seeks to incorporate sound to such a degree that the novel becomes a listenable art piece, requiring a reconceptualization of reading as not only a visual act, but an aural one as well.

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