Relevant bibliographies by topics / Recorded accompaniments (Medium voice)

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Academic literature on the topic 'Recorded accompaniments (Medium voice)'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Recorded accompaniments (Medium voice)"

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Lajic-Mihajlovic, Danka, and Smiljana Djordjevic-Belic. "Singing with gusle accompaniment and the music industry: The first gramophone records of gusle players` performances (1908−1931/2)." Muzikologija, no. 20 (2016): 199–222. http://dx.doi.org/10.2298/muz1620199l.

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The gramophone record industry had developed in the Yugoslav region from the beginning of the 20th century. The paper is based on an analysis of the corpus of 78 rpm records of singing with gusle accompaniment, which were produced between 1908 and 1932. Available recordings highlight the issue of representing both the epic and the gusle playing tradition in this media format and its relationship with ?unmediated? live gusle playing practice. Therefore the authors opted to analyze gramophone records as both a text in culture and an actor in tradition. After introductory theoretical and methodological remarks, the authors offer a brief description of the historical, political and socio-cultural context that emphasized epic singing with gusle accompaniment as a representative traditional genre in this area. For that reason it was noteworthy for both western and local production companies which made recordings in the Balkans (Deutsche Grammophon Gesellschaft mbH., Odeon Records, Marsh Laboratories, Inc., Edison Bell Penkala Ltd.). Analysis of the recordings is focused on examination of the way in which gusle players responded to different requirements of the new media (e.g. the insufficient capacity of a record itself compared to the usual duration of a performance; the reduction of a complex form of artistic communication to an oral, auditory message, while additional forms of non-verbal communication are excluded). Through discussion of the treatment of verbal and musical components of the recorded performances it has been shown that tradition was simultaneously exemplified and reshaped by this new medium. In addition to the guslars themselves, being already recognized artists in this traditional genre and the acoustic source (the voice accompanied by the gusle), the representative base of the epic tradition comprised traditional (poetic) texts, although modifications / innovations are recognizable at different levels of verbal content, as well as on the level of music interpretation. On these bases, it is possible to talk about the contribution of new media to the professionalization of guslars? practice and the creation of ?stars? among them on the one hand, and the progressive transformation of once-active audience members (in the sense of potentially exchangeable performer / listener positions) into passive buyers and consumers, on the other. It is noted that these, first gramophone records of guslars had a great role in and impact on the survival of the epic singing tradition, brokering its promotion in urban areas and among the ?cultural elite?. Finally, in this way they contributed to the strengthening of this tradition in a historical period that brought disintegration of the system of traditional culture and ?crisis? of the most of the current classic folklore genres.
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Qureshi, Regula Burckhardt. "His Master's Voice? Exploring Qawwali and ‘Gramophone Culture’ in South Asia." Popular Music 18, no. 1 (January 1999): 63–98. http://dx.doi.org/10.1017/s0261143000008734.

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‘No modern communications medium is more intrusive in modern Indian life than recorded and electronically amplified sound’ (Babb 1995, p. 10). In South Asia, even the most exclusive student of unmediated music-making cannot avoid a mediated public soundscape that may well transmit the music being studied over loudspeakers, radios, televisions, and cassette players. This is certainly the case for qawwali, a musical genre which is firmly embedded in Sufi practice, but is also widely recorded and media-disseminated for as long as the life of the Indian record industry itself. Acknowledging this musical reality after years of live study has prompted me first to situate the study of recorded qawwali vis-à-vis my own scholarly conventions and vis-à-vis the pioneering work on sound recording done in the very region of my own study. The aim is to address the problematic of an ethnographic approach to recorded qawwali, and to present preliminary findings, including some culturally meaningful examples from the repertoire.
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Altavilla, Cesare, Roberto Cejuela, and Pablo Caballero-Pérez. "Effect of Different Feedback Modalities on Swimming Pace: Which Feedback Modality is Most Effective?" Journal of Human Kinetics 65, no. 1 (December 31, 2018): 187–95. http://dx.doi.org/10.2478/hukin-2018-0026.

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Abstract To compare the effect of three different feedback modalities on swimming pace, sixteen male swimmers and triathletes participated in this study. Each participant swam 3 x 400 m, one for each feedback modality, swimming front crawl at 80% of their individual swimming critical speed. Three feedback modalities were examined: self-pacing, real time visual feedback and real time voice feedback. The swimmers adopted a fast start in all feedback modalities. In the real time voice feedback modality, the data recorded during the second lap (200 m) showed a significant improvement of their swimming pace approaching the swimming pace intended (-1.47 s, p < .01, medium effect size 0.79). A significant improvement toward the swimming pace intended was also noticed at the third split time (300 m) (0.05 s, p < .01, large effect size 0.81) and at the fourth split time (400 m) (0.46 s, p < .01, medium effect size 0.76). In self-pacing, the swimmers were not able to swim in line with the swimming pace intended. In real time visual feedback modality, the swimmers did not show a significant improvement approaching the swimming pace intended. The results revealed that communication with the swimmers using the real time voice feedback induced a significant improvement in their swimming pace and could help the athletes to swim with accurate and consistent pace.
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Van Stan, Jarrad H., Daryush D. Mehta, Andrew J. Ortiz, James A. Burns, Laura E. Toles, Katherine L. Marks, Mark Vangel, Tiffiny Hron, Steven Zeitels, and Robert E. Hillman. "Differences in Weeklong Ambulatory Vocal Behavior Between Female Patients With Phonotraumatic Lesions and Matched Controls." Journal of Speech, Language, and Hearing Research 63, no. 2 (February 26, 2020): 372–84. http://dx.doi.org/10.1044/2019_jslhr-19-00065.

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Purpose Previous work using ambulatory voice recordings has shown no differences in average vocal behavior between patients with phonotraumatic vocal hyperfunction and matched controls. This study used larger groups to replicate these results and expanded the analysis to include distributional characteristics of ambulatory voice use and measures indicative of glottal closure. Method Subjects included 180 adult women: 90 diagnosed with vocal fold nodules or polyps and 90 age-, sex-, and occupation-matched controls with no history of voice disorders. Weeklong summary statistics (average, variability, skewness, kurtosis) of voice use were computed from neck-surface acceleration recorded using an ambulatory voice monitor. Voice measures included estimates of sound pressure level (SPL), fundamental frequency ( f o ), cepstral peak prominence, and the difference between the first and second harmonic magnitudes (H1–H2). Results Statistical comparisons resulted in medium–large differences (Cohen's d ≥ 0.5) between groups for SPL skewness, f o variability, and H1–H2 variability. Two logistic regressions (theory-based and stepwise) found SPL skewness and H1–H2 variability to classify patients and controls based on their weekly voice data, with an area under the receiver operating characteristic curve of 0.85 and 0.82 on training and test sets, respectively. Conclusion Compared to controls, the weekly voice use of patients with phonotraumatic vocal hyperfunction reflected higher SPL tendencies (negatively skewed SPL) with more abrupt glottal closure (reduced H1–H2 variability, especially toward higher values). Further work could examine posttreatment data (e.g., after surgery and/or therapy) to determine the extent to which these differences are associated with the etiology and pathophysiology of phonotraumatic vocal fold lesions.
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Costa, Daniel. "Business English Learners’ Perceptions of Synchronous Online Tuition as a Substitute for Face-to-Face Tuition in a French-Speaking Context." International Journal of English Language Teaching 7, no. 2 (July 24, 2020): 60. http://dx.doi.org/10.5430/ijelt.v7n2p60.

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The purpose of this research study was to delve into Business English learners’ perceptions of synchronous online tuition and its potential as a substitute for face-to-face tuition in a one-to-one educational context. It involved nine French-speaking students spanning different proficiency levels and who completed at least a course consisting of twenty lessons which involved voice and text-based communication using Cisco Webex Meeting Center. They were asked to complete questionnaires and to attend semi-structured interviews in French, which were recorded and transcribed.The results show that the learners were generally pleased with the course and its medium. They commented on its flexibility both in terms of space and time, the former enabling them to have lessons from their office or home and the latter allowing them to schedule lessons according to their schedules. The respondents believed that the voice-based nature of the medium was effective in enhancing their listening and speaking skills, but not all acknowledged the benefits of text-based communication. Technical issues were considered a hindrance by several participants, while digital literacy, learning disabilities and learning styles were alluded to as factors which could affect the learning process. Blended learning was suggested to include further practice with colleagues or face-to-face tuition.
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Mishler, Alan. "The Discourse of Voicemail." HERMES - Journal of Language and Communication in Business 21, no. 40 (August 28, 2017): 167. http://dx.doi.org/10.7146/hjlcb.v21i40.96790.

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This paper attempts to determine to what degree voicemail messages can be considered a discourse genre – that is, to what degree and in what ways they appear to be uniform across speakers. Thirty-seven voice messages were recorded from the cellular phones of three University of Michigan students. The messages were analyzed in terms of their overall structure, the discursive functions that were executed therein, and the specific words, phrases and prosodic strategies that were used to execute certain functions. The messages were found to have highly uniform openings and closings, and the message bodies were found to reduce to a small set of discursive functions. In addition, certain words, phrases and devices appeared frequently and in predictable locations within the messages. It is concluded that voicemail message-leaving is a highly structured act governed by conventions that arise both from face-to-face conversation and from the specific constraints of the medium.
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Shah, Sonali, and Stephen Greer. "Polio monologues: translating ethnographic text into verbatim theatre." Qualitative Research 18, no. 1 (March 24, 2017): 53–69. http://dx.doi.org/10.1177/1468794117696141.

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Mass vaccination programmes mean that poliomyelitis is almost a forgotten memory in the Global North. But in reality its effects continue as many people who contracted paralytic polio in childhood may develop functional deterioration (Post-Polio Syndrome or PPS) in later adulthood; mass migration and escape from violence means that it is also re-emerging in contemporary societies. Thus it is crucial for different audiences to have opportunities to engage with, and understand the life histories of polio survivors and their personal experiences of disease and disability across biographical and historical time. This article discusses the process of using recorded delivery verbatim techniques, with disabled and non-disabled actors, to translate ethnographic research about social history of polio into a creative accessible medium for new generation audiences to learn about the hidden, often contested, histories of disability and disease that may collide with professional, medical and public discourse. Our contention is that ethnodrama can give a voice to the voiceless, and enable them to contribute to the production of new knowledge, health interventions and policy instruments that affect their lives.
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Johannes, Bernd, Juri A. Bubeev, Tatyana I. Kotrovskaya, Sergey V. Bronnikov, Sarah Piechowski, Eva-Maria Elmenhorst, Jörn Rittweger, Jens Jordan, and Anthony W. K. Gaillard. "Assessing Cognitive Capacity by P3 During a Complex Manual Control Task." Journal of Psychophysiology 35, no. 1 (January 1, 2021): 43–50. http://dx.doi.org/10.1027/0269-8803/a000260.

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Abstract. Our aim was to adapt a classical P3 method to assess the free cognitive capacity during spacecraft docking training in space. Electroencephalogram (EEG) measurement in space is limited by several conditions. Based on experience with our own EEG experiments on MIR and ISS, we decided to use dry electrodes and restricted the electrode placement to the forehead. We examined whether P3 can be reliably obtained under these conditions. Subjects had to perform a manually controlled docking task simultaneously with an acoustic monitory task. The P3 component was evoked by the acoustic stimuli of the secondary task. Twenty-six subjects participated in this study, situated in a space simulation on earth. After a familiarization session, they performed the docking tasks at three difficulty levels: low, medium, and difficult. In the secondary task, subjects had to discriminate between a low (750 Hz) and a high (1,000 Hz) tone, which differed in probability of 90% and 10%, respectively. The subjects had to count the high tone and after 10 relevant tones and had to give a voice command to a power supply configuration. P3 amplitude was largest and the latency shortest during the medium difficult task. A decision matrix based on differences between the relevant and irrelevant P3 was calculated for each subject and each task. The results suggest that P3 can be recorded during a complex manual control task and can be used to assess individual free cognitive capacity.
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Şahan, Özgür, and Salim Razı. "Do experience and text quality matter for raters’ decision-making behaviors?" Language Testing 37, no. 3 (January 27, 2020): 311–32. http://dx.doi.org/10.1177/0265532219900228.

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This study examines the decision-making behaviors of raters with varying levels of experience while assessing EFL essays of distinct qualities. The data were collected from 28 raters with varying levels of rating experience and working at the English language departments of different universities in Turkey. Using a 10-point analytic rubric, each rater voice-recorded their thoughts through think-aloud protocols (TAPs) while scoring 16 essays of distinct text qualities and provided brief score explanations. Data collected from TAPs were analyzed by using a coding scheme adapted from Cumming, Kantor, and Powers (2002). The results revealed that text quality has a larger effect than rating experience on raters’ decision-making behaviors. In addition, raters prioritized aspects of style, grammar, and mechanics when rating low-quality essays, but emphasized rhetoric and their general impressions of the text for high-quality essays. Furthermore, low-experienced raters differed more in their behaviors while assessing scripts of distinct qualities than did the medium- and high-experienced groups. The findings suggest that raters’ scoring behaviors might evolve with practice, resulting in less variation in their decisions. As such, this research provides implications for developing strategy-based rater training programs, which might help to increase consistency across raters of different experience levels.
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Arnold, Rudolf. "PLAY ME: interactive sonification of sexual arousal in long-distance relationships." Paladyn, Journal of Behavioral Robotics 11, no. 1 (June 27, 2020): 250–70. http://dx.doi.org/10.1515/pjbr-2020-0014.

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AbstractMusic is the best medium for expressing emotions and arousal nonverbally. PLAY ME is a gender-neutral Arduino-based system that allows partners in a long-distance relationship to perceive each other’s sexual arousal and to provide stimulation of erogenous zones using music. PLAY ME’s main parts are a tiny pneumatic anal probe connected to a pressure sensor and a bodysuit with integrated vibrators. Whenever both partners wear these devices, a real-time exchange of emotions and corporeal feelings can be enabled. Three sensors capture genital sexual arousal and transform it into music: a pulse sensor, a sensor for galvanic skin response and a pneumatic anal pressure probe. The anal probe measures pelvic tensions and contractions. Its signal controls the main voice. Higher arousal leads to stronger pelvic muscle tensions. Measured data are mapped to pitch, so the level of sexual arousal is audible in a comprehensive way, and orgasms can be clearly identified by regular pulsating sounds. The pulse sensor and the skin response sensor are the driving rhythm and drone frequency. The vibrators in the bodysuit are controlled by sound that is generated by the partner using any audio source. Mixing the sounds generated by the sensors and the instrument leads to interactive music that can enhance erotic feelings and sexual arousal in the way of biofeedback. This article describes the background and construction of the PLAY ME system and shows diagrams of sensor values recorded during sexual stimulation. After a discussion of the results, there is an outlook toward further development.
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Books on the topic "Recorded accompaniments (Medium voice)"

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Jonathan, Feist, and Berklee College of Music, eds. Your singing voice: Contemporary techniques, expression, and spirit. Boston, Mass: Berklee Press, 2012.

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Walters, Richard. The developing classical singer: Songs by British and American composers : Mezzo-soprano. Edited by Argento Dominick, Bernstein Leonard 1918-1990, Bridge Frank 1879-1941, Britten Benjamin 1913-1976, Britten Benjamin 1913-1976, Britten Benjamin 1913-1976, Britten Benjamin 1913-1976, et al. 2017.

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Walters, Richard. The developing classical singer: Songs by British and American composers : Baritone. 2017.

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Inman, Bryce, Sarah Huffman, and Brent Roberts. Ultimate contemporary wedding duets: [medium voice range]. 2013.

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Walters, Richard. Singer's Musical Theatre Anthology - Volume 1: Duets Book/2 CDs Pack (Singers Musical Theater Anthology). Hal Leonard Corporation, 2007.

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Walters, Richard. Singer's Musical Theatre Anthology - Volume 1: Mezzo-Soprano Book/2 CDs Pack. Hal Leonard Corporation, 2007.

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Walters, Richard. Singer's Musical Theatre Anthology - Volume 1: Tenor Book/2 CDs Pack (Singers Musical Theater Anthology). Hal Leonard Corporation, 2007.

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Walters, Richard. Singer's Musical Theatre Anthology - Volume 1: Soprano Book/2 CDs Pack (Singer's Musical Theatre Anthology (Songbooks)). Hal Leonard Corporation, 2007.

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Walters, Richard. Singer's Musical Theatre Anthology - Volume 1: Baritone/Bass Book/2 CDs Pack (Singer's Musical Theatre Anthology (Songbooks)). Hal Leonard Corporation, 2007.

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Walters, Richard. Singer's Musical Theatre Anthology - Volume 4: Baritone/Bass Book/2 CDs Pack (Singers Musical Theater Anthology). Hal Leonard Corporation, 2007.

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Book chapters on the topic "Recorded accompaniments (Medium voice)"

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Pinchevski, Amit. "Virtual Testimony and the Digital Future of Traumatic Past." In Transmitted Wounds. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190625580.003.0007.

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At the base of all Holocaust testimony projects lies a common commitment: to record and preserve the stories of those who survived the catastrophe as told in their own voices. When it comes to survivors’ testimonies, the messenger is as important as the message. The first to subscribe to this reasoning was the American psychologist David Boder, who in 1946 set out to interview survivors in refugee camps across Western Europe. Equipped with what was then the state- of- the- art technology—an Armour Model 50 wire recorder—Boder went on to produce what was the first audio testimony of the Holocaust. The wire recorder, developed in the 1940s by Marvin Camras, Boder’s colleague at the Illinois Institute of Technology, for the U.S. military, was a portable and remarkably durable device that utilized thin steel wires rolled into spools to produce an electromagnetic recording (see Fig. 4.1 below). As Boder later commented, the device “offered a unique and exact means of recording the experiences of displaced persons. Through the wire recorder the displaced person could relate in his own language and in his own voice the story of his concentration camp life.” Studying wire- recorded narratives led him to devise a “traumatic index” by means of which “each narrative may be assessed as to the category and number of experiences bound to have a traumatizing effect upon the victim.” Boder’s 1949 monograph, I Did Not Interview the Dead, invites readers to find indications of trauma implicit in selected transcripts of recorded narratives. The premise seems to be that, to the extent that such traumatic impact exists, it should be discoverable textually. Yet the same technology that made Boder’s project ingenious was also the reason for its relative obscurity. Wire recording was soon to give way to tape recording, consequently condemning Boder’s wire spools to obsolescence and the testimonies they held to near oblivion. The short- lived medium precluded access to the recorded material.
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