Academic literature on the topic 'Inaccurate singing'

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Journal articles on the topic "Inaccurate singing"

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Szabo, Moira. "Children's Inaccurate Singing." General Music Today 14, no. 3 (2001): 4–9. http://dx.doi.org/10.1177/104837130101400303.

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Davidova, Jelena, Galina Zavadska, Asta Rauduvaitė, and Ming-Jen Chuang. "Strategies for Developing 6–8 Year-Old Children’s Singing Intonation." Pedagogika 128, no. 4 (2017): 206–16. http://dx.doi.org/10.15823/p.2017.64.

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On the basis of the diagnostic study carried out in the framework of the international project “Coordination between 6–8 Year-Old Children’s Musical Hearing and Vocal Apparatus during the Process of Singing: Comparative Study in Latvia, Lithuania and Taiwan” the following problems were defined for those involved in the experiment in Latvia: children’s voice diapason and intonation (undeveloped voice diapason, which does not at large surpass quarto-tertian; inaccurate intonation of melody, bordering “speaking voice”; intonation of the general ascending and descending movement of melody by inaccurate inner filling), typical cases of inaccurate intonation in the process of singing at every age group of children; as well as strategies and didactic material was elaborated for forming and developing singing intonation at different stages of 6–8 year-old children in the framework of case study.
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Bella, Simone Dalla. "Defining Poor-Pitch Singing." Music Perception 32, no. 3 (2015): 272–82. http://dx.doi.org/10.1525/mp.2015.32.3.272.

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Important individual differences characterize singing in adult nonmusicians. In spite of the fact that the majority can carry a tune, some occasional singers are particularly inaccurate or imprecise in producing or imitating pitch (poor-pitch singers). Poor-pitch singing can be defined via acoustical analyses of vocal performances. In spite of the objective nature of this method, however, to date there is not a standard strategy for identifying and describing poor-pitch singers. Different tasks (e.g., singing from memory vs. imitation), cut-offs (50 cents, 100 cents, vs. variable criteria), and metrics (e.g., accuracy vs. precision) are typically used for assessing singing proficiency. Here the pros and cons of different methods and measurements are discussed. The boundary between poor-pitch singing and good singing depends on these factors, which should be carefully taken into account when assessing singing abilities. An approach based on multiple tasks sharing a common set of measures of singing accuracy and precision, with a relative cut-off (i.e., 2 SD from the average of a normative group) is favored for identifying poor-pitch singers.
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Price, Harry E., Cornelia Yarbrough, Merilyn Jones, and Randall S. Moore. "Effects of Male Timbre, Falsetto, and Sine-Wave Models on Interval Matching by Inaccurate Singers." Journal of Research in Music Education 42, no. 4 (1994): 269–84. http://dx.doi.org/10.2307/3345736.

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This study compared the effects of male timbre, falsetto, and sine-wave models on pitch-matching skills of inaccurate boy versus girl singers in Grades K—8. Subjects were 216 inaccurate singers in Grades K-8 ( n = 12 boys and 12 girls from each grade). They were presented descending minor thirds sung by a tenor and a bass in their regular octaves (G3—E3) and in falsetto (G4—E4), as well as two sine-wave stimuli in the same octaves. Subjects were recorded singing back the presented intervals. The recordings were digitized and analyzed for pitch and interval cent deviation. Responses to male stimuli were more accurate than were responses to sine waves. Girls responded more accurately to higher stimuli, and boys responded more accurately to lower stimuli. The octaves of the stimuli also affected the octaves of the responses, and the subjects had a tendency to sing intervals that were larger rather than smaller than the minor-third models.
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Рidhorbunskyi, Mykola. "Notized Collections of the Ukrainian Orthodox Church (XI–XIV Century)." Culturology Ideas, no. 14 (2'2018) (2018): 109–16. http://dx.doi.org/10.37627/2311-9489-14-2018-2.109-116.

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The aim of the study. The article is devoted to the research of the Old Kyiv noble collections of the Orthodox Church. Decoding the notebook of this period remains a rather complicated and unresolved problem. There are certain gaps in the study of liturgical notables of the period of Kievan Rus not allowing them to be translated into contemporary notation. The objectives of this study were to analyse and explore the collected collections of the Ukrainian Orthodox Church and to develop ways that would facilitate the deciphering of Old Man’s written manuscripts. The research methodology is based on a combination of different research methods: analytical method helped to analyse and explore the collected collections of the period of Kievan Rus; statistical and chronological methods helped to define the time and quantitative characteristics; the comparative method helped to reveal the general and specific features of old-fashioned liturgical manuscripts; the hypothetical-deductive method allowed analysing various hypotheses and outlining ways that will help to decipher the old-time written manuscripts. Conclusions. The main material for studying the liturgical singing from the XIth to the XIVth century is the published manuscripts, the total number of which does not exceed four dozen, which allow concluding that the basic principles of ancient Kievan singing were laid during that period. However, the deciphering of the early forms of Kiev inaccurate writing today represents an unresolved problem to be solved by active cooperation with scientists from Western European countries, using the latest computer technologies and the complete cataloguing of ancient musical manuscripts.
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Sterba, Christopher M. "“I Ought to Know How Negroes Talk”." California History 96, no. 3 (2019): 48–76. http://dx.doi.org/10.1525/ch.2019.96.3.48.

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The African American actor, writer, and director Spencer Williams, Jr. (1895–1969) has been the subject of a range of academic studies in recent years. Scholars have explored his pioneering work in early black film and his problematic role as “Andy Hogg Brown” in the television version of the Amos 'n' Andy radio program as a means of interpreting representations of black life within the confines of the Hollywood culture industry. This new scholarship, however, has reflected a limited and often inaccurate understanding of Williams' remarkable career. As will be discussed in this article, major events in Williams' life that have been unknown until now strongly influenced his filmmaking and his strategies to make the movie and television industries more racially inclusive. Most significantly, Williams was at different times a soldier in a segregated army unit, a convicted felon, and a committed artist and activist in Hollywood. These experiences helped to shape the themes and subject matter of his films, which ranged from religious dramas and singing cowboy westerns to backstage musicals and the first African American horror movie ever made.
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Bolsinger, Jeffrey S. "Use of Two Song Categories by Golden-Cheeked Warblers." Condor 102, no. 3 (2000): 539–52. http://dx.doi.org/10.1093/condor/102.3.539.

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Abstract I tape-recorded and counted the songs of color-banded Golden-cheeked Warblers (Dendroica chrysoparia) on Fort Hood, Texas in 1993 and 1994 to determine whether males use a two-category song system common to many wood-warbler species. More than 97% of all songs I documented belonged to two categories: A and B. A songs were higher in frequency, shorter, less complex, and were delivered at lower rates than B songs. Males used A songs primarily early in the nesting season, when near females, and from the interior of territories. In contrast, B songs were more common later in the nesting season, at dawn, and when males sang near territory boundaries. Songs delivered near territory edges were usually sung from one or two preferred perches on each male's territory that often coincided with the edge of a cliff or a break in the forest canopy. Based on these data, and in contrast to the implications of an early account of Golden-cheeked Warbler song use, this species shares the song system used by many wood-warbler species. Furthermore, the patterns of song use that I observed suggest that males do not sing randomly with respect to time or location on territory, and monitoring efforts that assume random singing across time and space may result in inaccurate or biased estimates of population sizes and habitat preferences.
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Kojima, Ryosuke, Osamu Sugiyama, Kotaro Hoshiba, Kazuhiro Nakadai, Reiji Suzuki, and Charles E. Taylor. "Bird Song Scene Analysis Using a Spatial-Cue-Based Probabilistic Model." Journal of Robotics and Mechatronics 29, no. 1 (2017): 236–46. http://dx.doi.org/10.20965/jrm.2017.p0236.

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[abstFig src='/00290001/22.jpg' width='300' text='Spatial-cue-based probabilistic model' ] This paper addresses bird song scene analysis based on semi-automatic annotation. Research in animal behavior, especially in birds, would be aided by automated or semi-automated systems that can localize sounds, measure their timing, and identify their sources. This is difficult to achieve in real environments, in which several birds at different locations may be singing at the same time. Analysis of recordings from the wild has usually required manual annotation. These annotations may be inaccurate or inconsistent, as they may vary within and between observers. Here we suggest a system that uses automated methods from robot audition, including sound source detection, localization, separation and identification. In robot audition, these technologies are assessed separately, but combining them has often led to poor performance in natural setting. We propose a new Spatial-Cue-Based Probabilistic Model (SCBPM) for their integration focusing on spatial information. A second problem has been that supervised machine learning methods usually require a pre-trained model, which may need a large training set of annotated labels. We have employed a semi-automatic annotation approach, in which a semi-supervised training method is deduced for a new model. This method requires much less pre-annotation. Preliminary experiments with recordings of bird songs from the wild revealed that our system outperformed the identification accuracy of a method based on conventional robot audition.**This paper is an extension of a proceeding of IROS2015.
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Bottalico, Pasquale, Simone Graetzer, and Eric J. Hunter. "Effect of Training and Level of External Auditory Feedback on the Singing Voice: Pitch Inaccuracy." Journal of Voice 31, no. 1 (2017): 122.e9–122.e16. http://dx.doi.org/10.1016/j.jvoice.2016.01.012.

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Tamir, Yael (Yuli). "Not So Civic: Is There a Difference Between Ethnic and Civic Nationalism?" Annual Review of Political Science 22, no. 1 (2019): 419–34. http://dx.doi.org/10.1146/annurev-polisci-022018-024059.

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There are reasons why some political ideas fit better into a theoretical framework than others. This article analyzes attempts to detheorize nationalism, arguing that they serve three major functions. First, they free nationalists from universalizing their arguments and from the ensuing rights and obligations. Second, they allow its rivals to present nationalism as morally inferior to other political standpoints. Third, they lead to the singling out and legitimization of one specific form of nationalism that is principle driven. Drawing a line between forms of nationalism—those motivated by primordial feelings and those motivated by rational and universal principles—lays the groundwork for a distinction between ethnic and civic nationalism. Though in theory these are two distinct forms of nationalism, in reality the boundaries are blurred. And yet advocates of civic nationalism keep the distinction alive, wishing to distance themselves from the other form of nationalism and promoting a vision (some would say the illusion) of a nationless nationalism. Assuming that Western democracies have transcended their national and ethnic elements encourages politicians to ignore social schisms, avoiding the need to cope with their consequences. The civic language therefore not only is theoretically inaccurate but also motivates avoidance where action is needed.
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Dissertations / Theses on the topic "Inaccurate singing"

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Aaron, Jeffrey C. "The effects of vocal coordination instruction on the pitch accuracy, range, pitch discrimination, and tonal memory of inaccurate singers." 1990. http://catalog.hathitrust.org/api/volumes/oclc/25968212.html.

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Miyamoto, Karen Ann. "The effects of the Yuba method on the vocal pitch accuracy of inaccurate elementary singers." Thesis, 2004. http://proquest.umi.com/pqdweb?index=0&did=765924101&SrchMode=1&sid=2&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233187569&clientId=23440.

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Books on the topic "Inaccurate singing"

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Aaron, Jeffrey C. The effects of vocal coordination instruction on the pitch accuracy, range, pitch discrimination, and tonal memory of inaccurate singers. s.n.], 1990.

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