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Journal articles on the topic 'Voice ove'

Author: Grafiati

Published: 30 May 2022

Last updated: 31 July 2025

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1

Gormsen Schmidt, Johanne. "Bogstaveligt talt: fra levet liv til tung vision." Passage - Tidsskrift for litteratur og kritik 36, no. 85 (2021): 29–44. http://dx.doi.org/10.7146/pas.v36i85.127960.

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   This article claims that prominent literary works published and discussed in Denmark in the 2010s strive to avert irony, seeking a solid basis. Examples include Karl Ove Knausgård’s project of documentation; Asta Olivia Nordenhof’s straight, clear-sighted addressal; Jonas Eika’s search for a neutral voice inspired by Simone Weil; and the decade’s agitated debates about Yahya Hassan and Christina Hagen.  

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Kjerkegaard, Stefan. "A Lyrical ‘I’ Beyond Fiction. Yahya Hassan and Autobiographical Poetry in Denmark After Karl Ove Knausgaard’s My Struggle." European Journal of Life Writing 10 (July 9, 2021): SV75—SV95. http://dx.doi.org/10.21827/ejlw.10.37640.

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This article focuses on contemporary autobiographical Danish poetry following the publication of Norwegian author Karl Ove Knausgaard’s novel Min kamp [My Struggle], originally published between 2009 and 2011 [My Struggle (2012–2018)]. Focusing on the 2013 poetry collection Yahya Hassan by the Danish-Palestinian poet Yahya Hassan, this article argues that the lyrical autobiographical voice escapes its narrative construction in fiction, illustrating a lyrical ‘I’ in contemporary autobiographical poetry that is ‘beyond fiction’. Paradoxically, this is due in part to Knausgaard’s novel, where mov

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Mustapić, Marina, Zdravko Kolundžić, and Katarina Pavičić Dokoza. "Usporedba rezultata samoprocjene glasa učitelja i odgojitelja." Logopedija 12, no. 1 (2022): 13–19. http://dx.doi.org/10.31299/log.12.1.2.

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Vokalni profesionalci su osobe kojima je glas osnovno sredstvo za obavljanje posla, u pravilu, i glavni izvor prihoda za život. Odgojitelji i učitelji pripadaju skupini vokalnih profesionalaca. Izloženost većim glasovnim naporima čini ove dvije skupine posebno podložnim glasovnim poremećajima. Cilj rada je ispitati i usporediti rezultate samoprocjene glasa u skupinama učitelja i odgojitelja Voice Handicap Indexom (VHI), upitnikom za samoprocjenu glasa. U radu je primijenjena prevedena hrvatska inačica VHI upitnika. Ljestvica daje konačni nestandardizirani rezultat koji predstavlja stupanj subj

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S.R, Srividhya, and Anita Davamani K. "Deconstructing Voice-Over-IP." Journal of Advanced Research in Dynamical and Control Systems 11, no. 0009-SPECIAL ISSUE (2019): 630–36. http://dx.doi.org/10.5373/jardcs/v11/20192615.

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Arsenić, Ivana, Nadica Jovanović Simić, Bojana Drljan, Nevena Ječmenica, and Zorica Daničić. "SUBJEKTIVNI DOŽIVLJAJ KOMUNIKACIONIH TEŠKOĆA ODRASLIH SOBA SA FLACIDNOM DIZARTRIJOM." Multidisciplinarni Pristupi u Edukaciji i Rehabilitaciji 3, no. 3 (2021): 29–40. http://dx.doi.org/10.59519/mper3002.

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Istraživanje je imalo za cilj da ispita stepen teškoća koji odrasle osobe sa flacidnom dizartrijom doživljavaju u različitim komunikacionim situacijama. Uzorak je činilo 30 ispitanika uzrasta od 36 do 87 godina (AS=66,47), od čega je 56,70% osoba muškog, a 43,30% osoba ženskog pola. Primenom VHI (Voice Handikep Index) skale je procenjeno koliko poremećaj glasa koji se javlja u sklopu dizartrije utiče na kvalitet komunikacije. Utvrđeno je koje komunikacione situacije predstavljaju problem osobama sa flacidnom dizartrijom i u kom stepenu. Viši prosečni skorovi na celokupnoj skali, kao i na supsk

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Ayish, Muhammad. "From “Many Voices, One World” to “Many Worlds, One Voice”." Javnost - The Public 12, no. 3 (2005): 13–30. http://dx.doi.org/10.1080/13183222.2005.11008892.

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

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AbstractDouble-voiced singing was a popular form of variety show entertainment from the 1860s through to the 1920s. Double-voiced performers were able, through intonation and tone, to sound as though they had at least two separate and distinct “voices,” generally one soprano and one baritone. But as Claire Rochester, a double-voiced singer of the early twentieth century made clear, their act was more than just a matter of a woman singing low notes or a man singing high ones; it was all about a performer adopting the “voice” of the other sex. The unusual practice of these singers was to sing du

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Coto-Jiménez, Marvin. "Discriminative Multi-Stream Postfilters Based on Deep Learning for Enhancing Statistical Parametric Speech Synthesis." Biomimetics 6, no. 1 (2021): 12. http://dx.doi.org/10.3390/biomimetics6010012.

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Statistical parametric speech synthesis based on Hidden Markov Models has been an important technique for the production of artificial voices, due to its ability to produce results with high intelligibility and sophisticated features such as voice conversion and accent modification with a small footprint, particularly for low-resource languages where deep learning-based techniques remain unexplored. Despite the progress, the quality of the results, mainly based on Hidden Markov Models (HMM) does not reach those of the predominant approaches, based on unit selection of speech segments of deep l

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Simanjuntak, Herlina Lindaria. "The Translation of English Passive Voice into Indonesian." TEKNOSASTIK 17, no. 1 (2019): 40. http://dx.doi.org/10.33365/ts.v17i1.231.

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English and Indonesian have different grammatical patterns and cultural values. That is why, many problems that students studying translation subject have to face. One of them is how to translate English Passive Voice into Indonesian. That is the reason the writer aims to do the research. The research is to describe the translation of English passive voice into Indonesian by analyzing two novels, which are Kristan Higgins’ Waiting on You and its translation Nina Andiana’s Penantian Terpanjang. This research uses qualitative method. The writer collected, identified, the data concerning with the

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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 (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

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Plante-Hébert, Julien, Victor J. Boucher, and Boutheina Jemel. "The processing of intimately familiar and unfamiliar voices: Specific neural responses of speaker recognition and identification." PLOS ONE 16, no. 4 (2021): e0250214. http://dx.doi.org/10.1371/journal.pone.0250214.

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Research has repeatedly shown that familiar and unfamiliar voices elicit different neural responses. But it has also been suggested that different neural correlates associate with the feeling of having heard a voice and knowing who the voice represents. The terminology used to designate these varying responses remains vague, creating a degree of confusion in the literature. Additionally, terms serving to designate tasks of voice discrimination, voice recognition, and speaker identification are often inconsistent creating further ambiguities. The present study used event-related potentials (ERP

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Telesca, Luciano, and Michele Lovallo. "Revealing competitive behaviours in music by means of the multifractal detrended fluctuation analysis: application to Bach's Sinfonias." Proceedings of the Royal Society A: Mathematical, Physical and Engineering Sciences 467, no. 2134 (2011): 3022–32. http://dx.doi.org/10.1098/rspa.2011.0118.

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The one-, two- and three-dimensional multifractal detrended fluctuation analysis (MF-DFA) was applied to Bach's Sinfonias, which are characterized by the superposition of three different voices. Each voice, represented as a time series, can be considered as a component of a one-, two- or three-dimensional vector. The one-dimensional MF-DFA was applied to any single voice, while the two- and three-dimensional MF-DFA was applied to the couples of voices and to the triple, respectively. Each voice is characterized by a multifractal degree (MD), indicated by the range of the generalized Hurst expo

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Miller, Charles William. "READING VOICES: PERSONIFICATION, DIALOGISM, AND THE READER OF LAMENTATIONS 1." Biblical Interpretation 9, no. 4 (2001): 393–408. http://dx.doi.org/10.1163/15685150152695290.

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AbstractMost interpretations of the first chapter of Lamentations recognize the existence of two different speakers who alternate speeches throughout the poem. The first speaker is characterized by third person discourse and often identified as a narrator. Critics unanimously equate the second speaker, who employs first person discourse, with the voice of the personified Jerusalem. One of the often overlooked elements in this standard reading of Lamentations 1, however, is the fact that, like the personified Jerusalem, the so-called narrator exists within the created world of the poem. In othe

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Kumar, Akshay. "AI Voice Cloning using Deep Learning." INTERNATIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 09, no. 06 (2025): 1–9. https://doi.org/10.55041/ijsrem51001.

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In this project, we have worked on creating a voice cloning system using deep learning. The main idea was to build a model that can listen to one person's voice and then convert it into another person’s voice, in such a way that it sounds real and natural. We used the LibriSpeech dataset for training our model because it contains a large number of voice recordings from many different speakers, which helped us teach the model how various people speak.To process the audio, first we convert the voice into features like mel spectrograms and pitch (F0), which will help to capture the sound and styl

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

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Consumers are increasingly interacting with automated systems for various purposes (e.g., smart speaker, vehicle control). One of the most popular ways they communicate with these systems is via the spoken auditory channel (listening and speaking). However, most of these systems tend to default to a female voice. In addition, many specifically use a White-sounding female voice. While prior work has investigated how attributes of age and gender influence perceptions of voiced automation, an additional vocal attribute of humanness has not been well researched -race. The specific goal of this pro

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Cuciniello, Marialucia, Terry Amorese, Claudia Greco, et al. "A Synthetic Voice for an Assistive Conversational Agent: A Survey to Discover Italian Preferences regarding Synthetic Voice’s Gender and Quality Level." Human Behavior and Emerging Technologies 2023 (December 28, 2023): 1–15. http://dx.doi.org/10.1155/2023/8858268.

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Based on a previous investigation, a quantitative study aimed to identify user’ preferences towards four synthetic voices of two different quality levels (classified through the sophistication of the synthesizer: low vs. high) is proposed. The voices administered to participants were developed considering two main aspects: the voice quality (high/low) and their gender (male/female). 182 unpaid participants were recruited for the study, divided in four groups according to their age, and therefore classified as adolescents, young adults, middle-aged, and seniors. To collect data regarding each v

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Schmidt, Jeanne Gabriele, Bárbara Niegia Garcia de Goulart, Maria Elza Kazumi Yamaguti Dorfman, Gabriel Kuhl, and Lauren Medeiros Paniagua. "Voice challenge in transgender women: trans women self-perception of voice handicap as compared to gender perception of naïve listeners." Revista CEFAC 20, no. 1 (2018): 79–86. http://dx.doi.org/10.1590/1982-021620182011217.

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ABSTRACT Purpose: to analyze the self-perception of transgender women’s voice handicap in comparison to the voices’ gender perception by naïve listeners. Methods: 31 transgender women, who were first submitted to vocal acoustic assessment and had their voices recorded to measure fundamental frequency and standard deviations, were eligible to the study. Next, they answered to the Voice Handicap Index protocol, from which, at the end of data collection, the most suited questions to the daily demands of this population were selected. Subsequently, 50 naïve blindfolded listeners were exposed to th

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Abrams, Daniel A., Tianwen Chen, Paola Odriozola, et al. "Neural circuits underlying mother’s voice perception predict social communication abilities in children." Proceedings of the National Academy of Sciences 113, no. 22 (2016): 6295–300. http://dx.doi.org/10.1073/pnas.1602948113.

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The human voice is a critical social cue, and listeners are extremely sensitive to the voices in their environment. One of the most salient voices in a child’s life is mother's voice: Infants discriminate their mother’s voice from the first days of life, and this stimulus is associated with guiding emotional and social function during development. Little is known regarding the functional circuits that are selectively engaged in children by biologically salient voices such as mother’s voice or whether this brain activity is related to children’s social communication abilities. We used functiona

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Yousuf, Assila, and David Solomon George. "A hybrid CNN-LSTM model with adaptive instance normalization for one shot singing voice conversion." AIMS Electronics and Electrical Engineering 8, no. 3 (2024): 282–300. http://dx.doi.org/10.3934/electreng.2024013.

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<abstract><p>Singing voice conversion methods encounter challenges in achieving a delicate balance between synthesis quality and singer similarity. Traditional voice conversion techniques primarily emphasize singer similarity, often leading to robotic-sounding singing voices. Deep learning-based singing voice conversion techniques, however, focus on disentangling singer-dependent and singer-independent features. While this approach can enhance the quality of synthesized singing voices, many voice conversion systems still grapple with the issue of singer-dependent feature leakage in

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Kang, Kenny Chin Aik, and Mohd Faizal Nizam Lee Abdullah. "Analysis of Oral Mode Communication Strategy in Teaching DLP Form-One Mathematics: A Case Study." Journal of Science and Mathematics Letters 10, no. 2 (2022): 16–25. http://dx.doi.org/10.37134/jsml.vol10.2.2.2022.

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This case study is on purpose to analyze the oral mode communication strategy in teaching mathematics (SKMLPM) of five form-one (T1) Dual Language Programme (DLP) class mathematics teachers, at national-type secondary schools, Kinta Utara, Ipoh, Perak. SKMLPM consists of noise-extinguisher, voice-controller, voice-equalizer, voice-mixer and voice-recorder. T1-DLP-mathematics teacher faces challenge to implement oral mathematics communication and needs a detailed guide. This study provides a guide for T1-DLP-mathematics teacher to implement oral mathematics communication, and a reflection to Se

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Liu, Boquan, Evan Polce, Hayley Raj, and Jack Jiang. "Quantification of Voice Type Components Present in Human Phonation Using a Modified Diffusive Chaos Technique." Annals of Otology, Rhinology & Laryngology 128, no. 10 (2019): 921–31. http://dx.doi.org/10.1177/0003489419848451.

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Purpose: Signal typing has been used to categorize healthy and disordered voices; however, human voices are likely comprised of differing proportions of periodic type 1 elements, type 2 elements that are periodic with modulations, aperiodic type 3 elements, and stochastic type 4 elements. A novel diffusive chaos method is presented to detect the distribution of voice types within a signal with the goal of providing an objective and clinically useful tool for evaluating the voice. It was predicted that continuous calculation of the diffusive chaos parameter throughout the voice sample would all

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Alonso, Agustin, Víctor García, Inma Hernaez, Eva Navas, and Jon Sanchez. "Automatic Classification of Synthetic Voices for Voice Banking Using Objective Measures." Applied Sciences 12, no. 5 (2022): 2473. http://dx.doi.org/10.3390/app12052473.

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Speech is the most common way of communication among humans. People who cannot communicate through speech due to partial of total loss of the voice can benefit from Alternative and Augmentative Communication devices and Text to Speech technology. One problem of using these technologies is that the included synthetic voices might be impersonal and badly adapted to the user in terms of age, accent or even gender. In this context, the use of synthetic voices from voice banking systems is an attractive alternative. New voices can be obtained applying adaptation techniques using recordings from peo

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Adhinata, Faisal Dharma, Diovianto Putra Rakhmadani, and Alon Jala Tirta Segara. "Pengenalan Jenis Kelamin Manusia Berbasis Suara Menggunakan MFCC dan GMM." Journal of Dinda : Data Science, Information Technology, and Data Analytics 1, no. 1 (2021): 28–33. http://dx.doi.org/10.20895/dinda.v1i1.198.

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Biometric information that exists in humans is unique from one human to another. One of the biometric data that is easily obtained is the human voice. The human voice is identic data that can differentiate between individuals. When we hear human voices directly, it is easy for our ears to tell the person who is speaking is male or female. But sometimes male voices can resemble girls and vice versa. Therefore, we propose a human voice detection system through Artificial Intelligence (AI) in machine learning. In this study, we used the Mel Frequency Cepstrum Coefficients (MFCC) method to extract

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Cambouropoulos, Emilios. "Voice And Stream: Perceptual And Computational Modeling Of Voice Separation." Music Perception 26, no. 1 (2008): 75–94. http://dx.doi.org/10.1525/mp.2008.26.1.75.

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LISTENERS ARE THOUGHT TO BE CAPABLE of perceiving multiple voices in music. This paper presents different views of what 'voice' means and how the problem of voice separation can be systematically described, with a view to understanding the problem better and developing a systematic description of the cognitive task of segregating voices in music. Well-established perceptual principles of auditory streaming are examined and then tailored to the more specific problem of voice separation in timbrally undifferentiated music. Adopting a perceptual view of musical voice, a computational prototype is

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Kreiman, Jody, Bruce R. Gerratt, Kristin Precoda, and Gerald S. Berke. "Individual Differences in Voice Quality Perception." Journal of Speech, Language, and Hearing Research 35, no. 3 (1992): 512–20. http://dx.doi.org/10.1044/jshr.3503.512.

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Sixteen listeners (10 expert, 6 naive) judged the dissimilarity of pairs of voices drawn from pathological and normal populations. Separate nonmetric multidimensional scaling solutions were calculated for each listener and voice set. The correlations between individual listeners’ dissimilarity ratings were low However, scaling solutions indicated that each subject judged the voices in a reliable, meaningful way. Listeners differed more from one another in their judgments of the pathological voices (which varied widely on a number of acoustic parameters) than they did for the normal voices (whi

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Factor, Zekiel Z., Cody W. Polack, and Ralph R. Miller. "Visual Gender Cues Guide Crossmodal Selective Attending to a Gender-Congruent Voice During Dichotic Listening." Experimental Psychology 67, no. 4 (2020): 246–54. http://dx.doi.org/10.1027/1618-3169/a000496.

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Abstract. Visual input of a face appears to influence the ability to selectively attend to one voice over another simultaneous voice. We examined this crossmodal effect, specifically the role face gender may have on selective attention to male and female gendered simultaneous voices. Using a within-subjects design, participants were presented with a dynamic male face, female face, or fixation cross, with each condition being paired with a dichotomous audio stream of male and female voices reciting different lists of concrete nouns. In Experiment 1a, the female voice was played in the right ear

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Thompson, William F., and Lola L. Cuddy. "Perceived Key Movement in Four-Voice Harmony and Single Voices." Music Perception 9, no. 4 (1992): 427–38. http://dx.doi.org/10.2307/40285563.

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Listeners with a moderate amount of musical training rated the distance between the first and final key of short chorale excerpts under one of four presentation conditions. The distance between keys, or modulation distance, was either zero, one, or two steps in either the clockwise or counterclockwise direction on the cycle of fifths. Presentation conditions were four-voice harmonic sequences excerpted from the complete set of Bach chorales, single voices of the latter sequences, four-voice harmonic sequences simplified to block chords, and single voices of the latter sequences. Consistent wit

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Rinta, Tiija. "Children's speaking and singing voices are one voice: evidence from perceptual analyses of independent voice parameters." Journal of Music, Technology and Education 2, no. 2 (2009): 127–40. http://dx.doi.org/10.1386/jmte.2.2-3.127_1.

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McCARTHY, DAVID. "Textured Voices and the Performance of Ethical Life in the Case of the Laff Box (1966)." Twentieth-Century Music 13, no. 1 (2016): 109–37. http://dx.doi.org/10.1017/s1478572215000195.

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AbstractTextured voices include both voices heard as interpolated into a musical texture and voices heard as having their own textured character, whether as a ‘voice’ with a ‘timbre’ or as a ‘collective voice’ with a ‘composite timbre’ made up of many voices, each textured itself. They have often been heard as performances of ethical life. Comparisons between these performances can be misleading because the contingencies characterizing the textured voice for a listener who listens in a particular way can make each performance irreducible. A pair of articles and cartoons in TV Guide from the su

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Subki, Ahmad, Muh Nasirudin Karim, and Bahtiar Imran. "Analisis Rekaman Suara pada Aplikasi Magic Call dengan Metode Forensik Audio untuk Mendapatkan Bukti Digital." Jurnal SAINTEKOM 13, no. 2 (2023): 111–22. http://dx.doi.org/10.33020/saintekom.v13i2.373.

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Audio forensics is a method used to analyze sound or audio recordings. Voice or audio recording is one of the digital evidence that is easy to manipulate. One way to manipulate sound is to use magic call. Magic call has several levels of character voices that can be used such as cartoon, children, male and female voices. The analysis of the original voice recording with the magic voice recording is done by comparing the magic call sound and the voice with the original voice recording. The purpose of this study was to determine the voice recording produced by magic call from the magic call appl

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Paulik, Georgie, Craig Steel, and Arnoud Arntz. "Imagery rescripting for the treatment of trauma in voice hearers: a case series." Behavioural and Cognitive Psychotherapy 47, no. 6 (2019): 709–25. http://dx.doi.org/10.1017/s1352465819000237.

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AbstractBackground: High rates of trauma and post-traumatic stress disorder (PTSD) are reported in people who hear voices (auditory hallucinations). A recent meta-analysis of trauma interventions in psychosis showed only small improvements in PSTD symptoms and voices. Imagery Rescripting (ImRs) may be a therapy that is more effective in this population because it generalizes over memories, which is ideal in this population with typically repeated traumas.Aims: The primary aims of this study were to investigate whether ImR reduces (1) PTSD symptoms, and (2) voice frequency and distress in voice

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Uloza, Virgilijus, Nora Ulozaitė-Stanienė, Tadas Petrauskas, et al. "Reliability of Universal-Platform-Based Voice Screen Application in AVQI Measurements Captured with Different Smartphones." Journal of Clinical Medicine 12, no. 12 (2023): 4119. http://dx.doi.org/10.3390/jcm12124119.

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The aim of the study was to develop a universal-platform-based (UPB) application suitable for different smartphones for estimation of the Acoustic Voice Quality Index (AVQI) and evaluate its reliability in AVQI measurements and normal and pathological voice differentiation. Our study group consisted of 135 adult individuals, including 49 with normal voices and 86 patients with pathological voices. The developed UPB “Voice Screen” application installed on five iOS and Android smartphones was used for AVQI estimation. The AVQI measures calculated from voice recordings obtained from a reference s

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Jheng, Wei-Cherng Sam. "A restructuring analysis of the non‑inferential evidential verb han in Siwkolan Amis." Concentric. Studies in Linguistics 49, no. 2 (2023): 175–223. http://dx.doi.org/10.1075/consl.22049.jhe.

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Abstract This work aims to investigate the morphosyntactic properties of han in Siwkolan Amis and to defend a lexical split of han, one being a lexical category with argument structure and the other a functional category merging to Voice0. I argue that the functional han cannot be analyzed as a quotative verb or a pv-inflected verb as proposed in the literature, due to novel findings that han (a) is permitted in patient, instrumental and locative voice constructions, (b) represses the presence of voice affixes, (c) must stand immediately adjacent to the lexical verb and (d) encodes the non-inf

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M/ Peripeti Redaktion, For More Than One Voice. "Collective Performative Reading." Peripeti 17, no. 31 (2020): 141–56. http://dx.doi.org/10.7146/peri.v17i31.119194.

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For More Than One Voice (2016–) is a collective reading that investigates how we might speak and listen in more than one voice by means of resonance, polyphony, dissonance, ambiguity, plurality, and embrace. The collective reading is centred around the politics and poetics of the multiplicity of voices in performance and text, where the complexities of voice as representation are investigated.

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Christensen, Linda. "Finding Voice: Learning about Language and Power." Voices from the Middle 18, no. 3 (2011): 9–17. http://dx.doi.org/10.58680/vm201113560.

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Christensen discusses why teachers need to teach students "voice" in its social and political context, to show the intersection of voice and power, to encourage students to ask, "Whose voices get heard? Whose are marginalized?" As Christensen writes, "Once students begin to understand that Standard English is one language among many, we can help them access their multiple voices—the one they use on the basketball court, the one they use in speech and debate, the one they use at the kitchen table, and the ones they use in their writing."

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Brodersen, Randi Benedikte, and Solveig Kavli. "“Students Can Write!”." Nordic Journal of Information Literacy in Higher Education 11, no. 1 (2019): 39–51. http://dx.doi.org/10.15845/noril.v11i1.2624.

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One purpose of this article is to shed light upon the concept of voice in writing, related to genres and sources in humanities. Another purpose is to participate in the academic discussion on voice. We want to raise awareness about the use of voice, in general, among students and supervisors. We want to inspire and motivate students to voice their texts explicitly and naturally – by using different genres and by entering into dialogue with central sources. Such sources can be used to create new meaning and for sense making, but they do not carry a given answer (Dervin, 1999; Holliday & Rog

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Ruben, Aarne. "The “unknown voice” in Western history since Socrates." Semiotica 2017, no. 215 (2017): 269–80. http://dx.doi.org/10.1515/sem-2016-0032.

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AbstractSocrates remains one of the most prominent paternal figures of Western dialogism and phonocentric paradigm; the man who stirred up the dialectic imaginations of his days. In Plato’s Socratic dialogues, his inner voice (daimonion) sounds as a last-instance statement to cast the light on the final solution of the conversation. In the context of antiquity and following cultural tradition, Socrates was the only hearer of warning signals from inside. The rest of the voices were urging (voices of the imaginable cursed souls, saints, angels, etc.). There was no need for a “personal” dictating

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Fröhlich, Matthias, Dirk Michaelis, Hans Werner Strube, and Eberhard Kruse. "Acoustic Voice Analysis by Means of the Hoarseness Diagram." Journal of Speech, Language, and Hearing Research 43, no. 3 (2000): 706–20. http://dx.doi.org/10.1044/jslhr.4303.706.

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The hoarseness diagram (Michaelis, Fröhlich, & Strube, 1998a) has been proposed as a new approach to describe different acoustic properties of voices. To test its performance in the analysis of pathologically disturbed and normal voices five requirements are suggested that should be met by any acoustic voice-analysis protocol to be used in voice research and clinical practice. The hoarseness diagram is then tested with regard to these requirements. Individual voices are found to show a satisfactory localization in the diagram. Aspects of stationarity are discussed in the context of four ca

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Lawrence, Catherine, Jason Jones, and Myra Cooper. "Hearing Voices in a Non-Psychiatric Population." Behavioural and Cognitive Psychotherapy 38, no. 3 (2010): 363–73. http://dx.doi.org/10.1017/s1352465810000172.

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Background: Many people hear voices but do not access psychiatric services and their experiences are largely unknown, not least because of the difficulty in contacting such people. This study investigates the beliefs held about voices, distress experienced, and provides a topographical account of the experience of hearing voices in a sample of individuals who hear voices in a non-psychiatric population. Method: A quantitative questionnaire internet-based study with a within-subjects and between-subjects design was used. The internet was used to make contact with people who hear voices. One hun

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Kumari, Sweta, Smita Mishra, Hitesh Kalra, S. Umakanth, and Madhulika Srivastava. "An in-depth examination of management interaction through employee voice dynamics in human resource management." Multidisciplinary Reviews 6 (May 15, 2024): 2023ss088. http://dx.doi.org/10.31893/multirev.2023ss088.

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Voice is a critical employee behavior that promotes ideas, concerns and ideas throughout the company. It is a frequent technique that learning the obstacles of leadership and issues that can affect the functioning of the corporation. In this paper, our primary goal of the research on employee voices, determine fields and the research findings on employee voice can be utilized as well as modified to be applied in other categories that illustrate the result in a more broad conception of employee voice. This review includes the fields of employee voice and Organizational Behavior (OB) coupled wit

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Jo, Hye-jeong, Chanmi Park, Eunyoung Lee, et al. "Neural Effects of One’s Own Voice on Self-Talk for Emotion Regulation." Brain Sciences 14, no. 7 (2024): 637. http://dx.doi.org/10.3390/brainsci14070637.

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One’s own voice undergoes unique processing that distinguishes it from others’ voices, and thus listening to it may have a special neural basis for self-talk as an emotion regulation strategy. This study aimed to elucidate how neural effects of one’s own voice differ from those of others’ voices on the implementation of emotion regulation strategies. Twenty-one healthy adults were scanned using fMRI while listening to sentences synthesized in their own or others’ voices for self-affirmation and cognitive defusion, which were based on mental commitments to strengthen one’s positive aspects and

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Huron, David. "Increment/Decrement Asymmetries in Polyphonic Sonorities." Music Perception 7, no. 4 (1990): 385–93. http://dx.doi.org/10.2307/40285474.

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Existing research has shown that single-voice entries in polyphonic music are more easily perceived than single- voice exits. A study of 195 assorted musical works reveals a marked asymmetry between voice entries and exits. Specifically, voices tend to be added one at a time, while voice exits tend to occur several at a time. This practice is consistent with the hypothesis that voice entries and exits are perceptually important points in musical works and that composers avoid single- voice exits because they are less likely to be perceived.

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Ban, Tae Won, and Bang Chul Jung. "Capacity Analysis of VoIP over LTE Network." Journal of the Korean Institute of Information and Communication Engineering 16, no. 11 (2012): 2405–10. http://dx.doi.org/10.6109/jkiice.2012.16.11.2405.

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Hiley, David. "Two unnoticed pieces of medieval polyphony." Plainsong and Medieval Music 1, no. 2 (1992): 167–73. http://dx.doi.org/10.1017/s0961137100001753.

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The two pieces introduced and briefly discussed in this article have so far remained unnoticed because of the manner of their notation. In each case pieces of two-voice polyphony were notated with the two voices separate, instead of in the score notation which has been usual since, roughly, the second half of the twelfth century. In the one case, the sequence Magnus deus in universa terra in a manuscript from Marchiennes of the fourteenth century, a second voice was added at the back of the book in which the usual melody had already been recorded. In the other case, the song Ad honorem regis s

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Astuti, Epata Puji. "Voicing The Other : Patrick Sweeting�s Perspective in Jaipong Dancer." Journal of Language and Literature 19, no. 1 (2019): 131–36. http://dx.doi.org/10.24071/joll.v19i1.1827.

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Jaipong Dancer is a novel written by Patrick Sweeting, which raises the subordination issue of women as the other. In this novel, Sweeting represents women as the other in paradox. On the one hand, women are represented as the other who is excluded from the society. On the other hand, women are represented as (the ones who are) strong, exotic and difficult to be overpowered. The problem is how Patrick Sweeting voices women as the other in his novel and the research questions are (1) how women as the other are voiced in this novel, and (2) how the writers perspective is related to the problem o

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Allan, Diana. "Your Voice Matters." Journal of Singing 79, no. 4 (2023): 429–31. http://dx.doi.org/10.53830/ocix2278.

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World Voice Day with its theme of Your Voice Matters, is celebrated on April 16 each year. This observance encourages NATS members to seek out the resources necessary to promote healthy voice use. NATS members have access to a wide variety of resources including the Journal of Singing, NATS Live Learning Center, the Science-Informed Voice Pedagogy Resources, Vocapedia, and NATS Chats. Another resource to access for education of respectful and inclusive voice use is our I.D.E.A. Toolkit. Its three modules educate us in ways we can include and celebrate every voice within NATS because All Voices

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Bogaard, Lisanne G., and Andrew J. Oxenham. "Exploring perceptual segregation cues in polyphonic vocal music under normal and impaired hearing." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A38. http://dx.doi.org/10.1121/10.0026718.

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Music plays an important role in the lives of many people, but its enjoyment can be compromised by hearing loss. Although the effects of hearing loss on speech are well-studied, its effects on music perception are less well-understood. This study examined normal-hearing and hearing-impaired listeners’ ability to hear out individual voices within polyphonic music, while varying the number of voices and the level of inharmonicity in each voice. We hypothesized that hearing loss would hinder listeners’ ability to distinguish voices in music due to impaired frequency selectivity and pitch percepti

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Tulics, Miklós Gábriel, and Klára Vicsi. "Automatic classification possibilities of the voices of children with dysphonia." Infocommunications journal, no. 3 (2018): 30–36. http://dx.doi.org/10.36244/icj.2018.3.5.

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Dysphonia is a common complaint, almost every fourth child produces a pathological voice. A mobile based filtering system, that can be used by pre-school workers in order to recognize dysphonic voiced children in order to get professional help as soon as possible, would be desired. The goal of this research is to identify acoustic parameters that are able to distinguish healthy voices of children from those with dysphonia voices of children. In addition, the possibility of automatic classification is children. In addition, the possibility of automatic classification is examined. Two sample T-t

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Wegner, Ana Cristine, Chloé Larmet, Christophe D'Alessandro, and Roberto Moura. "The Actor and Augmented Listening." Voz e Cena 1, no. 02 (2020): 120–39. http://dx.doi.org/10.26512/vozcen.v1i02.34322.

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This paper discusses the dynamic between digital tools and the actor’s ability to listen. It presents the results of the workshop Voices on Stage: An Approach to Ancient Greek Tragedy in the Digital Era (Athens, 2018) which confronts the actor to different layers of voice (direct, amplified, and synthetic). Through those experiments and their analysis, one will demonstrate how listening to synthetic voices can reinforce the actor’s sensibility to voice, stimulate his/her’s other senses and transform the act of listening into a tactile and visual experience.

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Krishna, Murari Bansal, and Raj Singh Prithvi. "Development of a Tool to Objectively Identify the Normal Human Voice." International Journal of Toxicological and Pharmacological Research 12, no. 5 (2022): 189–96. https://doi.org/10.5281/zenodo.11902797.

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<strong>Background:  </strong>Acoustic analysis is used to assist in differential diagnosis, documentation, and evaluation of treatment for voice disorders. Clinical data has shown that Jitter, Shimmer, Mean Pitch, and Harmonic Noise Ratio are the indices of voice pathology. A voice with some periodicity can now be analyzed with a computerized acoustic analyzer, a relatively newer technique that can be widely used in clinical practice. Voice is an acoustic output of the vibrations of the vocal folds and is the basic source of speech. In contrast, speech is a meaningful acoustic output cre

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