Готові списки джерел за темами / Voice

Добірка наукової літератури з теми "Voice"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 22 червня 2024

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій
  6. Звіти організацій

Статті в журналах з теми "Voice":

1

Yancey, Kathleen Blake. "Voices on Voice." College Composition and Communication 47, no. 1 (February 1996): 135. http://dx.doi.org/10.2307/358288.

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2

Kim, Hyo Chang, Min Chul Cha, and Yong Gu Ji. "The Impact of an Agent’s Voice in Psychological Counseling: Session Evaluation and Counselor Rating." Applied Sciences 11, no. 7 (March 24, 2021): 2893. http://dx.doi.org/10.3390/app11072893.

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As an agent delivers content during the communication between an artificial intelligence (AI) machine and a person, the voice of the agent is a crucial factor to be considered. Particularly in the fields of eHealth, the perception of users toward an agent is crucial as it significantly affects the communication between the agent and its patients, as well as the treatment results. Thus, this study examined the effects of the voice of an agent on the perception of users toward the agent and its counseling effects. This study developed a psychological counseling agent with four voices according to gender and age, communicated with the subjects through such agent, and measured the perception of users toward the agent and its counseling effects through a questionnaire. Results demonstrated that the female-voiced agent had a higher level of attractiveness than the male-voiced agent, regardless of the age of such voice, and the agent using an older voice had a higher level of expertness and depth than the agent using a younger voice, regardless of the gender of such voice. The findings of this study are expected to be effectively used to design a voice-based AI agent that considers the optimal voice according to the purpose of use.
3

Morsberger, Katharine M. "Voices of Translation: Poet's Voice and Woman's Voice." Pacific Coast Philology 28, no. 1 (September 1993): 3. http://dx.doi.org/10.2307/1316419.

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4

Halliwell, Michael. "‘Voices within the Voice’: Conceiving Voice in Contemporary Opera." Musicology Australia 36, no. 2 (July 3, 2014): 254–72. http://dx.doi.org/10.1080/08145857.2014.958271.

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5

Sorrell, Eleanor, Mark Hayward, and Sara Meddings. "Interpersonal Processes and Hearing Voices: A Study of the Association Between Relating to Voices and Distress in Clinical and Non-Clinical Hearers." Behavioural and Cognitive Psychotherapy 38, no. 2 (November 2, 2009): 127–40. http://dx.doi.org/10.1017/s1352465809990506.

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Background:Previous research suggests that the distress experienced by clinical voice hearers is associated with the perceived relationship between voice and hearer, independent of beliefs about voices and depression.Aims:This study aimed to replicate these findings and generate further hypotheses by comparing the voice hearing experiences of clinical and non-clinical hearers.Method:A cross-sectional, quantitative design was employed and used between-subjects and correlational methods. Thirty-two clinical voice hearers and 18 non-clinical voice hearers were assessed using the PSYRATS, the Voice and You questionnaire, the Beliefs About Voices Questionnaire – Revised, and the Beck Depression Inventory-II.Results:For clinical voice hearers, distress was significantly associated with perceptions of the voice as dominating and intrusive, and hearers distancing themselves from the voice. However, these associations were not independent of beliefs about voices’ omnipotence or malevolence. Non-clinical voice hearers were significantly less distressed than clinical voice hearers and voices were perceived as less dominant, intrusive, malevolent and omnipotent. Non-clinical hearers were found to relate from a position of less distance to voices perceived as benevolent.Conclusions:Findings from previous research were only partially replicated. Clinically, the development of less maladaptive relationships between voice and voice hearer may reduce distress.
6

ВАРЕЦЬКА, Софія, Світлана МАЦЕНКА, Діана МЕЛЬНИК та Ярина ТАРАСЮК. "Медійність голосу у драматичному тексті Лесі Українки". Studia Ucrainica Varsoviensia, № 11 (4 грудня 2023): 75–93. http://dx.doi.org/10.31338/2299-7237suv.11.5.

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Based on the theory of mediative nature of writing the article analyzes the dramatization of voices in Lesya Ukrainka’s dramatic poem Cassandra (1907). The analysis of the text revealed that the author uses voices to create unique characters’ portraits, she skillfully introduces voice gestures, plays with voice masks. Different types of voices have been outlined in Lesya Ukrainka’s text and characterized in the article: the author’s voice, voice of the text, voice of silence, prophetic voice, cry voice, singing voice. Considering the ideas expressed by the researchers in the fi eld of the theory of writing and voice mediality, it has been pointed out that Lesya Ukrainka uses voices not just as a medium but also, she focuses on their physicality, emotionality, gesture nature, and performativity that plays a significant role for representing a tragic cognition in the poem.
7

Robson, George, and Oliver Mason. "Interpersonal Processes and Attachment in Voice-Hearers." Behavioural and Cognitive Psychotherapy 43, no. 6 (April 29, 2014): 655–68. http://dx.doi.org/10.1017/s1352465814000125.

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Background: Studies of both clinical and non-clinical voice hearers suggest that distress is rather inconsistently associated with the perceived relationship between voice and hearer. It is also not clear if their beliefs about voices are relevant. Aims: This study investigated the links between attachment anxiety/avoidance, interpersonal aspects of the voice relationship, and distress whilst considering the impact of beliefs about voices and paranoia. Method: Forty-four voice-hearing participants completed a number of self-report measures tapping attachment, interpersonal processes in the voice relationship, beliefs about voices, paranoia, distress and depression. Results: Attachment avoidance was related to voice intrusiveness, hearer distance and distress. Attachment anxiety was related to voice intrusiveness, hearer dependence and distress. A series of simple mediation analyses were conducted that suggest that the relationship between attachment and voice related distress may be mediated by interpersonal dynamics in the voice-hearer relationship, beliefs about voices and paranoia. Conclusions: Beliefs about voices, the hearer's relationship with their voices, and the distress voices sometimes engender appear to be meaningfully related to their attachment style. This may be important to consider in therapeutic work.
8

Grillo, Elizabeth U. "A Nonrandomized Trial for Student Teachers of an In-Person and Telepractice Global Voice Prevention and Therapy Model With Estill Voice Training Assessed by the VoiceEvalU8 App." American Journal of Speech-Language Pathology 30, no. 2 (March 26, 2021): 566–83. http://dx.doi.org/10.1044/2020_ajslp-20-00200.

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Purpose This study investigated the effects of the in-person and telepractice Global Voice Prevention and Therapy Model (GVPTM) treatment conditions and a control condition with vocally healthy student teachers. Method In this single-blinded, nonrandomized trial, 82 participants completed all aspects of the study. Estill Voice Training was used as the stimulability component of the GVPTM to train multiple new voices meeting all the vocal needs of the student teachers. Outcomes were assessed using acoustic, perceptual, and aerodynamic measures captured by the VoiceEvalU8 app at pre and post in fall and during student teaching in spring. Results Significant improvements were achieved for several acoustic and perceptual measures in the treatment conditions, but not in the control condition. The in-person and telepractice conditions produced similar results. The all-voiced phrase and connected speech were more successful in demonstrating voice change for some of the perturbation measures as compared to sustained /a/. Conclusions The treatment conditions were successful in improving the participants' voices for fundamental frequency and some acoustic perturbation measures while maintaining the improvements during student teaching. In addition, the treatment conditions were successful in decreasing the negative impact of voice-related quality of life and vocal fatigue during student teaching. Future research should address the effectiveness of the various components of the GVPTM, the application of the GVPTM with patients with voice disorders, the relevance of defining auditory–perceptual terms by the anatomy and physiology of the voice production system (i.e., Estill Voice Training), and the continued use of the VoiceEvalU8 app for clinical voice investigations. Supplemental Material https://doi.org/10.23641/asha.13626824
9

Schlier, Björn, Xenia Sitara, Clara Strauss, Aikaterini Rammou, Tania M. Lincoln, and Mark Hayward. "Can Gender Differences in Distress Due to Difficult Voices Be Explained by Differences in Relating?" Cognitive Therapy and Research 45, no. 4 (January 22, 2021): 831–39. http://dx.doi.org/10.1007/s10608-020-10190-5.

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Abstract Background Research on gender differences has found that women relate to negative voice hearing experiences with more negative emotions and report more distress due to voices, which may be rooted in differences in relating to voices. This study used a robust methodology and a large sample to explore gender differences in relating to voices and voice distress. Methods Matched samples of male (n = 124) and female (n = 124) voice hearers were drawn from a survey for secondary analysis. Voice severity (e.g., frequency or loudness), voice distress, and different types of dysfunctional (i.e., passive or aggressive) and functional (assertive) relating were measured. Group comparisons, mediation models, and network analyses were calculated. Results Female voice hearers reported more severe voices, more voice distress, more passive, and less assertive relating. Mediation and network analyses yielded evidence for pathways from gender to voice distress via relating and via differences in voice severity. Conclusion Gender differences in the emotional impact of voices can be partially explained by relating behavior. Psychological interventions for voice hearing could be optimized by exploring the influence of gender in the emergence of distressing voices. Nevertheless, gender differences need to be treated as one of several different possible mechanisms when working with individual patients.
10

Gour, Mr G. B., and Dr V. Udayashankara. "Voice Activity Detection and Pitch analysis in Pathological Voices." International Journal of Trend in Scientific Research and Development Volume-1, Issue-5 (August 31, 2017): 423–28. http://dx.doi.org/10.31142/ijtsrd2324.

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Статті в журналах Дисертації Книги

Дисертації з теми "Voice":

1

Landon, Rocky. "Voice, whose voice is it, anyway?" Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ31220.pdf.

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2

MacFarlane, Andrew Euan. "Voice activated : exploring the effects of voices on behaviours." Thesis, University of Canterbury. Psychology, 2014. http://hdl.handle.net/10092/9682.

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Decades of priming research have revealed that environmental stimuli feed into our behaviours, often without any awareness of our using this information to guide our behaviour. This has been shown using plentiful stimuli across multiple contexts. One of the most socially rich stimuli in our environment is voice, and yet this has featured surprisingly little in behavioural research, particularly within social psychology. This thesis was written as a step towards addressing this gap, and it explores how voices might affect particular behaviours in different contexts. Three broad experiments, each with their own sub-experiments, investigated how voices, acting as proxies for social categories, could influence one's behaviour. In the first experiment, the responses to socially themed statements were influenced by the sex of the voice presenting those statements. Female voices primed more agreement to these statements than did male voices. In the second experiment, judgements of ambiguous stimuli and questions were also affected by voices, albeit in less clear ways. In the third experiment, the reaction times of participants were again affected by voices. Younger participants' reaction times were slower when listening to an older voice, and older participants' reaction times were faster when listening to an older voice. Across these three experiments, I found too that the presence of a voice led to task differences compared to when voice was absent. The combination of these experiments is, to my knowledge, the first to look at voice-based behavioural priming. How these results fit with selected existing theories, the potential to specify theories based on these results, and the possible practical applications of voice based priming are discussed.
3

Jarman-Ivens, Freya. "Breaking voices : voice, subjectivity and fragmentation in popular music." Thesis, University of Newcastle upon Tyne, 2006. http://hdl.handle.net/10443/234.

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Four case studies from 'mainstream' popular music are used to explore the voice as a primary site for the construction of meaning in popular music, both as a vehicle for language and as an 'object' outside of or alongside language. The first chapter argues that the extensive use of overdubbing technology by the Carpenters forms part of their relationship with the 'geno-song', and that the cyborgian voice which emerges from such use of technology disrupts human-centred psychoanalytic models of subjective development. Finally, different recordings of 'Superstar' are analysed to show how different recordings of a song negotiate ideas of 'presence'. The second chapter outlines various sexually queer subjects presented by Madonna, and argues that the process of constant transformation challenges hegemonic Western notions of a unified 'self'. The chapter also argues that musical factors have underpinned her visual transformations, and that her vocality has suggested her maturation as an artist and challenged the ideology of 'voice' as a stable signifier of identity. A chapter on Eminem explores his simultaneous use of three distinct characters to play out different aspects of his own identity, and how his work represents and constructs masculinity. Specifically, the chapter argues that the use of language as a system does not easily parallel the masculinist content of the lyrics, but can instead be aligned with traditionally 'feminine' or feminising modes of writing. Moreover, according to a traditional gendered musical semiotics, the interface between language and music does not underline 'masculinity' in normative ways. The final chapter considers how ideas of 'self' and Other are negotiated in Elvis Impersonation. In particular, a model for understanding vocal impersonation is offered, using Freud's model of the ideal ego and Baudrillard's orders of simulacra. Finally, the chapter explores the representation and construction of masculinities in various examples of Elvis Impersonation.
4

Nevard, Teresa. "Exploring voice hearers' relationships with their voices : can voices serve an adaptive function?" Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/56863/.

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Background Voice hearers’ relationships with their voices can mirror their wider social relating (e.g. Paulik, 2012). Research has found a relationship between social isolation and beliefs about voices being benevolent (e.g. Favrod et al., 2004). Attachment style impacts on aspects on the voice hearing experience (e.g. Berry et al., 2012) but no previous study has used a measure of attachment to investigate voice hearers’ relationship with their voices. Aims To investigate whether voice hearers develop attachment bonds with their voices, and whether this relates to general attachment style, social isolation and dependence on the voice. Method 83 voice hearers were recruited online. Measures were: The Experiences in Close Relationships Revised (ECR-R), Dependence Scale of Voice and You (VAY), Reciprocal Attachment Questionnaire (RAQ), the Frequency and Distress items from the Hamilton Programme for Schizophrenia Voices Questionnaire (HPSVQ), UCLA Loneliness Scale, and Patient Health Questionnaire (PHQ-9). Narrative information was also collected. Analysis A cross-sectional correlational design was used with additional content analysis of the narrative data. Doctoral Thesis: Exploring voice hearers’ relationships Teresa Nevard with their voices: Can voices serve an adaptive function? ii Results Initial evidence was found of attachment bonds to voices in a proportion of voice hearers. Voice hearers with high attachment anxiety reported greater fear of losing their voice. Correlations between attachment to voice and loneliness lost significance after post hoc adjustment and controlling for low mood. As this is the first study using a measure of attachment for relationships with voices it is important to interpret the results with caution. Conclusion The research highlights the importance of considering individuals relationships with their voices. It is hoped that the results of this research will lead to further investigation of attachment bonds with voices and the elucidation of how general attachment style and social isolation impacts on this. Further investigation of this could lead to clinical benefits for voice hearers who are distressed by their voices.
5

Castro, Maria. "Women's voices : a gendered analysis of the voice-hearing experience." Thesis, University of East London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532553.

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6

Wang, Hans S. M. Massachusetts Institute of Technology. "Voice wars : smart speakers, voice assistants, and strategies for building a successful voice ecosystem." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/122259.

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Thesis: S.M. in Engineering and Management, Massachusetts Institute of Technology, System Design and Management Program, 2019
Page 99 blank. Cataloged from PDF version of thesis.
Includes bibliographical references (pages 96-98).
In recent years, voice-powered digital assistants have exploded into the consumer mainstream as an important new form of human-computer interaction. Powered by dramatic improvements in speech recognition and artificial intelligence (Al) technologies over the last decade, digital voice assistants are now abundantly prevalent in modem consumer electronic devices ranging from mobile phones, to smart speakers, to wearables. As the technology matures and the availability of big data used by digital assistants proliferates, voice will soon become a primary modality by which people interact and accomplish tasks. Many of these tasks will be accomplished in consumer homes and digital voice assistants present a significant new opportunity where voice and the physical home intersect to dramatically reshape how consumers live in their home.
This also represents a tremendous opportunity for companies in the digital assistant industry, and, in order to successfully leverage this nascent technology, they will need to understand both their own strategic goals as well as their direct and indirect competitors' strategies in building a business ecosystem around voice-first digital assistants. A fierce struggle has begun - not just amongst current technology titans (i.e. Google, Amazon, Apple, Microsoft), but also involving key incumbent players in the home media and electronics industry (e.g. Samsung, Sonos, Bang & Olufsen).
The goals of this thesis, with respect to the current industry leaders in the digital assistant and smart home space, are to 1) understand the current landscape of the digital assistant voice ecosystem, 2) elucidate each major players' current voice-powered digital assistant platform strategy, 3) analyze the consumer adoption, selection, and diffusion mechanisms for digital voice assistants in the consumer smart home, and 4) determine what the likely outcomes are for each major player as well as the likelihood of success and associated risks with the current ecosystem and platforming strategies employed. Finally, through additional market analysis and industry projections, strategic recommendations will be presented to guide each key player over the next decade. Following these recommendations will be key to winning the digital assistant voice wars and for creating a successful and sustainable voice technology ecosystem in the personal digital assistant market.
by Hans Wang.
S.M. in Engineering and Management
S.M.inEngineeringandManagement Massachusetts Institute of Technology, System Design and Management Program
7

Charest, Ian. "Hierarchical organisation of voice and voice gender perception." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1681/.

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The most important sound in our auditory environment is the human voice. Voice professionals, whether they are teachers, radio hosts, sport coaches, use their voice on a everyday basis to earn their living and communicate information and knowledge. We grow up spending most of our time everyday listening to voices in school, at the sports club, on t.v., etc. So much that by the time we are adults, voice plays a major role in our everyday social interactions. Yet, while extensive research has been conducted on speech perception voice alone has only just started generating more and more interest in the cognitive neuroscience research community. Voice is not "just" a speech carrier, it conveys rich paralinguistic information such as gender, age, identity or affective state. A theoretical model which emphasises the similarities between face and voice processing was recently introduced, suggesting a serial and parallel processing pathway of voice information leading to high level cognitive processes like person identification. Globally this model of voice processing suggests an extraction of low-level acoustic features, followed by a voice structural encoding leading to parallel pathways for the recognition of speech, affect and identity related information. Furthermore, this model suggested potential interactions with face perception pathways. In this thesis, I investigated two different stages of this voice perception model. First, little is known about the speed at which the distinction between vocal and non-vocal sounds is performed, i.e. is there a time-frame where the "voice structural analysis" would occur. Using electroencephalography, we conducted an experiment in order to delineate this voice vs. non-voice perception time-frame. I observed an early electro-physiological response preferential to voice stimuli, emerging around 164 ms on fronto-temporal electrodes FC5 and FC6 which was termed the "fronto-temporal positivity to voice". Second, little is known about the neural basis behind the perception of paralinguistic information such as identity, gender or affective state contained in the human voice. I used voice gender as a tool to investigated the "voice recognition units" stage of the voice perception model. The cognitive processes behind voice gender perception are still under debate, and more precisely, the nature of the representation of voice gender, whether it is organised around low level acoustical discriminants, or relies on high level categorical representations still remains unclear. Voice gender continua can be created in order to parametrically control the degree of gender contained in voice. I investigated the importance of low level acoustic features using the recently developed auditory morphing algorithms. I averaged 32 male and 32 female voices in order to "approximate" a prototypical voice for each gender. From those prototypes, I generated caricatures by exaggerating the acoustical properties of the male prototype in reference to the female prototype. Those voice composites were included along with 3 pairs of male and female voice exemplars in a voice gender adaptation experiment. I observed significantly stronger perceptual after-effects caused by adaptation from the voice gender caricatures. This result provides evidence for a determinant role of the low level acoustical features in our ability to perceive the gender of a voice. Finally, using functional magnetic resonance imaging (fMRI), I investigated whether brain regions of the auditory cortex are sensitive to voice gender, voice gender adaptation, and whether a dissociation between extraction of acoustical features and higher level, perceptual representations could be achieved. I used voice gender continua and an event-related fMRI design called the continuous carry-over design to assess these working hypotheses. I observed a covariation between BOLD signal and the degree of acoustical differences in consecutive voices in the anterior part of the right superior temporal sulcus, where the extraction of voice gender related acoustical features occurs. Furthermore, I observed a higher level network involving the bilateral inferior frontal gyrus, the insula and the anterior cingulate cortex where a summary of acoustical features would be input from auditory areas enabling a voice gender categorisation.
8

Ferrell, Rosemary Kaye. "Voice in Screenwriting: Discovering/Recovering an Australian Voice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2004.

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This creative practice research explores the concept of an identifiable screenwriter’s voice from the perspective of screenwriting as craft, proposing that voice can be understood and described based on its particular characteristics. Voice is understood to be the authorial presence of the screenwriter, whose mind shapes every aspect of the text. This presence is inscribed in the text through the many choices the screenwriter makes. More than this, the research argues that the choices made inflect the text with a cultural-national worldview. This occurs because of the close association between voice and personal (including cultural/national) identity, and because of the power of textual elements to signify broader concepts, ideas and phenomena belonging to the actual world. The thesis includes an original feature film screenplay evidencing a particular Australian voice, and an exegesis which describes voice and national inflection more fully. The practice research began with the interrogation of voice in a previously-existing screenplay which, though an original work written by an Australian screenwriter – myself – was described as having an American voice. Voice and its mechanisms were then further investigated through the practice of writing the original screenplay, Calico Dreams. Theories of voice from within literary theory, and the concept of mind-reading, from cognitive literary theory, acted as departure points in understanding voice in screenwriting. Through such understanding a conceptual framework which can assist practitioners and others to locate aspects of voice within a screenplay, was designed. This framework is a major research outcome and its use is illustrated through the description of voice in the screenplay, Calico Dreams. The research found that screenwriter’s voice serves to unify and cohere the screenplay text as an aesthetic whole through its stylistic continuities and particularities. Through the voice, the screenwriter also defines many of the attributes and characteristics of the film-to-be. A theory of screenwriter’s voice significantly shifts the theoretical landscape for screenwriting at a time when an emerging discourse of screenwriting is developing which can enrich understandings of the relationship between the screenplay and its film.
9

Williams, Bonnie Blu. "An Investigation of Selected Female Singing- and Speaking-Voice Characteristics Through Comparison of a Group of Pre-Menarcheal Girls to a Group of Post-Menarcheal Girls." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330681/.

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The purpose of this study was to compare the speaking fundamental frequency, physiological vocal range, singing voice quality, and self-perceptions of the singing and speaking voice between two groups of girls ages 11 through 15 years, who were pre-menarcheal by 6 months and post-menarcheal by 10 months or more. Subjects were volunteers who attended a North Texas public school system. Each subject was examined by an otolaryngologist. Age, height, weight, a hearing screening, and information on music classes and/or private music lessons were obtained. The speaking fundamental frequency measure was obtained by having each subject speak for 30 seconds on a subject of choice and read a passage of approximately 100 syllables. The vocal range measure was obtained by having each subject begin at an arbitrary pitch and sing mah and moo up the scale as high as possible and mah and moo down the scale as low as possible. These four measures were repeated with the researcher giving visual gestures. For singing-voice quality, each subject sang "America" in the key of her choice and again in the key of F major. Each subjects singing voice was rated according to breathiness. Data regarding self-perceptions of the singing and speaking voice were obtained through a rating assessment of 10 questions and a conversation with each subject. There were no significant differences between the means of the pre-meanarcheal and post-menarcheal girls on speaking fundamental frequency, physiological vocal range, and singing-voice quality. But, more of the post-menarcheal girls exhibited lower speaking pitches, lower singing ranges, and increased breathiness in their singing voices than did the pre-menarcheal girls. Two questions of the perceptions rating assessment were significant, with the post-menarcheal girls citing higher incidences of vocal inconsistencies than the pre-menarcheal girls. The findings of the qualitative data analysis indicated that more post-menarcheal girls had an adequate vocabulary to describe various aspects of their singing and speaking voices than did the pre-menarcheal girls.
10

Pagan, Ellen M. "College choir directors' and voice instructors' techniques for classifying female voices." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237398533.

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Книги з теми "Voice":

1

McClintock, James B. One voice two voice. Bloomington, IN: AuthorHouse, 2008.

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2

1950-, Yancey Kathleen Blake, ed. Voices on voice: Perspectives, definitions, inquiry. Urbana, IL: National Council of Teachers of English, 1994.

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3

Sommers, Jeffrey. Model voices: Finding a writing voice. New York: McGraw-Hill, 1989.

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4

R, Boone Daniel, ed. The voice and voice therapy. 8th ed. Boston: Pearson/Allyn and Bacon, 2010.

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5

Boone, Daniel R. The voice and voice therapy. 7th ed. Boston: Pearson/Allyn & Bacon, 2005.

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6

Boone, Daniel R. The voice and voice therapy. 5th ed. Englewood Cliffs, N.J: Prentice Hall, 1994.

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7

Boone, Daniel R. The voice and voice therapy. 4th ed. Englewood Cliffs, N.J: Prentice Hall, 1988.

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8

Boone, Daniel R. The voice and voice therapy. 7th ed. Boston: Allyn & Bacon, 2005.

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9

St, George Marie Elyse. Voice. Regina, SK, Canada: Coteau Books, 1995.

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10

Rūpasiṃha, Kumār. Voice. Colombo: Foundation for Co-Existence, 2008.

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Частини книг з теми "Voice":

1

Daid, Rory Mc. "Glos, Voce, Voice." In The Changing Faces of Ireland, 17–33. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-475-1_2.

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2

Tay, Julie H., and Sebastian Muth. "Between voice and voices." In The Commodification of Language, 71–88. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Language, society and political economy: Routledge, 2021. http://dx.doi.org/10.4324/9781003028581-61a.

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3

Dancyger, Ken, Jessie Keyt, and Jeff Rush. "Dramatic Voice/Narrative Voice." In Alternative Scriptwriting, 335–42. 6th ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003242307-25.

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4

Weik, Martin H. "voice." In Computer Science and Communications Dictionary, 1901. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_20887.

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Gullion, Jessica Smartt. "Voice." In Writing Ethnography, 59–60. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-381-0_12.

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6

Hunt, Celia, and Fiona Sampson. "Voice." In Writing, 24–39. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-20460-7_3.

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7

Boulter, Amanda. "Voice." In Writing Fiction, 58–73. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-0-230-20747-9_5.

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8

Kucuk, S. Umit. "Voice." In Consumer Voice, 1–20. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53983-2_1.

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9

Croft, William A. "Voice." In Typological Studies in Language, 89. Amsterdam: John Benjamins Publishing Company, 1994. http://dx.doi.org/10.1075/tsl.27.06cro.

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10

Kumlin, Staffan. "Voice." In The Personal and the Political, 164–83. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1057/9781403980274_9.

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Тези доповідей конференцій з теми "Voice":

1

"Bridge2AI Voice: Voice Artificial Intelligence Symposium." In Bridge2AI Voice: Voice Artificial Intelligence Symposium. Frontiers Media SA, 2024. http://dx.doi.org/10.3389/978-2-8325-1245-6.

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2

Pacnik, G., K. Benkic, and B. Brecko. "Voice operated intelligent wheelchair - VOIC." In Proceedings of the IEEE International Symposium on Industrial Electronics. IEEE, 2005. http://dx.doi.org/10.1109/isie.2005.1529099.

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3

Saito, Shogo, Sho Ooi, and Mutsuo Sano. "Study of Voice Generation Method Suitable for Characters based on Human Cognitive Characteristics." In 5th International Conference on Artificial Intelligence and Big Data. Academy & Industry Research Collaboration Center, 2024. http://dx.doi.org/10.5121/csit.2024.140416.

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Анотація:
Previous studies have attempted to estimate existing voices from images of animated characters as a way to generate voices suitable for animated characters, but without good results. Therefore, in this study, to link the voice characteristics to match the animation character with the image, we devised a method to analyze the voice’s tendency to not be uncomfortable and then establish the ratio of voice learning data based on the analyzed tendency data. Specifically, this study prepares multiple voices for one illustration of an anime character, asks subjects to evalu- ate the voices, and calculates an evaluation based on the evaluation values. In experiments, we conducted an evaluation experiment using the one-pair comparison method, calculated the distri- bution of learning data based on the evaluation values obtained, and prepared for the subsequent learning process.
4

Zhang, Weitong, and Chen Jiaxin. "Future automobile driving space voice interaction: adapt to the driving scenarios and user personalities." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003420.

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This paper investigates in-car voice interaction, where in-car voice assistants are becoming a common form of interaction in the car. However, voice assistants are unable to naturally perform emotional feedback based on traffic scenarios and driver state, so we explore the perspective of voice emotion in order to improve the in-car VUI experience. We designed five driving scenarios and tasks and four typical emotional voices. Participants were asked to experience each of the four emotional voice assistants in these five driving scenarios and tasks via a driving simulator and their feedback was collected through questionnaire ratings and interviews. And we also collected user personality traits (Big Five Inventory).In this paper, we assessed the emotional needs of in-car VUIs in different situations and made design recommendations for future in-car voice assistants. To explore the relationship between voice assistants’ emotional styles, driving scenarios and tasks, and users, we designed a series of voice assistants with four emotional styles (Joy, Relaxed, Urgent, and Neutral), recorded audio samples for five specified driving scenarios and tasks. Seven participants were invited to evaluate the voices, then based on the feedback, the voices were improved until they conformed to the set emotional styles. As dependent variables, we collected user personality traits (Big Five Inventory). Then we conducted a simulated driving experiment. Several participants with driving experience (N=26) were asked to experiment with five different driving scenario tasks in turn, with all four emotional voice assistants being tested in each driving scenario task. Then participants provided their insights through questionnaire scoring and semi-structured interviews.Our results show that users are more satisfied with voice assistants when their emotional style is matched to the driving scenario and task. For example, voice should be serious and brief in situations related to driving performance and driving safety, while in situations not related to driving performance (e. g. in-car entertainment) the voice assistant should be more lively and chatty. The experimental results also show that the user's gender and personality also have an impact on the emotional style preferences of the voice assistant. In the scenario tasks of Passenger assistance, Navigation, and Proactive assistance, the preferences of female users differed significantly from those of male users (p<0.05). In pairwise comparisons, participants who preferred Joy scored significantly higher in extraversion than all other groups (p < 0.05). Consequently, adapting the right emotional voice to different driving situations and user personalities has a positive impact on increasing user satisfaction.
5

Takatama, Mirai, and Wonseok Yang. "Remote Cheering System with Voice in Live Streaming." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001753.

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Анотація:
In recent years, live streaming has become the mainstream. Because the music live has been canceled or postponed by the influence of the new coronavirus infection. Even now that the number of infected people is decreasing, hybrid live performances with both concert and live streaming are being held. Live streaming can reduce travel costs and time, so it has the merit of being able to watch it easily. However, it is difficult to feel a sense of unity and presence, and it does not create more excitement than concert. It has become a problem in the music industry. In order to solve this problem, we think it is necessary to pay attention to the presence or absence of audience sharing the same place and voice, which is a big difference between concert and live streaming. This study examines how to make it satisfactory live where we can feel a sense of unity and presence even if we are alone at home in a live streaming. To this end, we clarified the behavior of the audience watching concert and analyzed how to cheer.Therefore, we conducted a survey of the excitement of it based on the pyramid of Freytag.We investigated the behavior of the audience from concert videos of idols, singers and rock bands. As a result, audience’s cheering method has three types of cheering: those using voice, those using hands and those using entire body. Cheering using voice plays an important role in deciding the excitement.Live streaming has comments, social tipping, and posting on SNS as a service. However, none of them share the voice of the audience. This analysis clarified the reason why live streaming is not more exciting than concert. Thereby we considered that sharing emotions aloud between the audience create a sense of unity in live streaming. From the above, we produce a live streaming cheering system using voice. This system uses the call program to communicate with other audiences, visualize the voice of the audience and project it on the screen. It’s mechanism that increases the number of effects that express excitement as the audience’s voice gets louder. We produce it to use TouchDesigner. Moreover, subjects watched the concert video with this system. we experimented with whether the subject felt a sense of unity and presence compared to conventional live streaming. Subjects were able to shout even more by sharing voices with other audiences and visualizing their voices. In addition, conventional live streaming shared emotions by discussing their impressions with other audiences using SNS. By contrast, this system can share emotions directly through the call program, which makes it more exciting. On the other hand, subjects have an opinion that it would be better to project effects tailored to the concept of songs and concerts on the screen so that the audience would not get bored. Therefore, this system is room for the development. From this experiment, the remote cheering system using voice improve the concert experience at home.
6

Rebelo, Francisco, Ricardo Dias, Maria Mendonça, Joao Costa, Paulo Noriega, and Elisângela Vilar. "Using Kansei Design to Create a Predictive Model for Voice User Interfaces for Electronic Appliances." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003372.

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Анотація:
Nowadays, virtual voice assistants, are present in various devices – from smartphones to smart speakers and, soon, in all electronic appliances. In this context, it is a significant increase in the user experience with them to make them more engaging. Virtual assistants usually have the same voice tone to give users information. Thus, companies are not fully taking advantage of voice properties and the power they hold on to communication, increasing the user experience and the market product success. In this study, we used the Kansei Design method to predict the emotional user reaction impact of different voice user interfaces for electronic appliances. Resorting to some literature review and online post-research, we defined voice characteristics to manipulate – gender, cadence, and inflection. Related to the semantic space (Kansei words) of the user's perceptions with virtual assistant voices – pleasure, proximity, and arousal. Eighty-three participants (67,5% female and 32,5% male) answered an online questionnaire with 12 possible combinations between gender; cadence; and inflection, with the Kansei words: pleasure; proximity; and arousal. Results vary with the semantic space, but they suggest that people felt more comfortable and relaxed hearing a male voice than a female one. Regarding cadence, a typical speech flow was where people felt more intimate with the voice. Though, participants felt more activated while hearing a female voice, speaking at a higher speed and with inflection in her voice. We generated some use cases with these results to understand how they can guide design processes regarding voice-user interfaces.
7

Hemy, Avy. "Entangled Voices : A Multicase PhotoVoice Study of the Interrelationship Between Student Voice and Teacher Voice." In AERA 2022. USA: AERA, 2022. http://dx.doi.org/10.3102/ip.22.1886633.

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8

Hemy, Avy. ""Entangled Voices": A Multicase PhotoVoice Study of the Interrelationship Between Student Voice and Teacher Voice." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1886633.

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9

Andrews, Kerry John. "Voice." In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185887.

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Truillet, Philippe, and Gwenael Bothorel. "VOICE." In the 17th conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1148550.1148559.

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Звіти організацій з теми "Voice":

1

Baker, Alison, and Lutfiye Ali. Mapping young people’s social justice concerns: An exploration of voice and action. Centre for Resilient and Inclusive Societies, 2022. http://dx.doi.org/10.56311/hbnb8239.

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Анотація:
This report is the first phase of a two-phase action research project titled Building Activist Capacities of Young People Through Issue-based Campaigns. The report explores key social issues facing young people aged 16 to 25 in Victoria, Australia, and examines how they respond to these issues. This study aims to better understand young people’s experiences of voice, the contexts and conditions in which they can cultivate their voices for social change, and where their voices resonate.
2

Broccardo, Eleonora, Oliver Hart, and Luigi Zingales. Exit vs. Voice. Cambridge, MA: National Bureau of Economic Research, August 2020. http://dx.doi.org/10.3386/w27710.

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3

Harju, Jarkko, Simon Jäger, and Benjamin Schoefer. Voice at Work. Cambridge, MA: National Bureau of Economic Research, March 2021. http://dx.doi.org/10.3386/w28522.

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4

Parsons, G., and J. Maruszak. Voice Messaging Client Behaviour. RFC Editor, July 2005. http://dx.doi.org/10.17487/rfc4024.

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5

Vaudreuil, G. Voice Messaging Directory Service. RFC Editor, October 2005. http://dx.doi.org/10.17487/rfc4237.

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Vaudreuil, G. Voice Message Routing Service. RFC Editor, October 2005. http://dx.doi.org/10.17487/rfc4238.

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7

McRae, S., and G. Parsons. Internet Voice Messaging (IVM). RFC Editor, November 2005. http://dx.doi.org/10.17487/rfc4239.

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8

Eldridge, J. M. Voice and Data Network of Convergence and the Application of Voice over IP. Office of Scientific and Technical Information (OSTI), November 2000. http://dx.doi.org/10.2172/769028.

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9

PRAISSMAN, J. L. SUTHERLAND,J C. LABORATORY VOICE DATA ENTRY SYSTEM. Office of Scientific and Technical Information (OSTI), April 2003. http://dx.doi.org/10.2172/15006728.

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10

Reynolds, J. K., R. Gillman, W. A. Brackenridge, A. Witkowski, and J. Postel. Voice File Interchange Protocol (VFIP). RFC Editor, February 1986. http://dx.doi.org/10.17487/rfc0978.

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