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Relevant bibliographies by topics / Zvuk

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Academic literature on the topic 'Zvuk'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Zvuk"

1

Greated, M. "Zvuk." International Journal of Design & Nature and Ecodynamics 4, no. 3 (January 29, 2010): 238–53. http://dx.doi.org/10.2495/dne-v4-n3-238-253.

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Damjanović, Isidora. "Muzika i književnost – zvuk riječi." Folia linguistica et litteraria 22 (June 1, 2018): 125–38. http://dx.doi.org/10.31902/fll.22.2018.10.

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Vasic, Aleksandar. "An unintended dialogue between “materialists” and “idealists”. The essays on west European art music in the "Zvuk" magazine (1932-1936)." Muzikologija, no. 14 (2013): 77–92. http://dx.doi.org/10.2298/muz1314077v.

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The Zvuk magazine, one of the best Serbian and Yugoslav music reviews, was published in Belgrade from 1932 to 1936. It was founded and edited by a pianist, music historian and music critic Stana Ribnikar (1908-1986). Her closest collaborators in the magazine were leftist musicians. Nevertheless, the editorial board was open for collaboration with writers who had different ideas on the relationship between art and society. This article deals with numerous essays on the nineteenth-century West European art music in the Zvuk magazine. Their topics are very diverse: some of the essays deal with individual composers, historical issues, various problems of writing music, and related subjects. Others tend to provide information and present art music in a popular manner. A significant feature of the Zvuk magazine was the parallel presence of essays written by Marxist musicians and those written by other music writers, who did not believe in the social function of art, even though these two groups of authors did not engage in polemics. Pavao Markovac, a musicologist from Zagreb, was very critical towards Richard Wagner`s views on art and society. The Belgrade musicologist Vojislav Vuckovic shared his point of view. In his essays on the historical significance of baroque music, Vuckovic opposed the idea of absolute autonomy of art. Both Markovac and Vuckovic believed that art and society were inseparable and they evaluated music accordingly. Other prominent Serbian music writers, such as Miloje Milojevic, also voiced their opinions on the pages of the Zvuk magazine. Milojevic published essays on Johannes Brahms and Richard Strauss. He was also in favour of evaluating music within the given social context, but he advocated the ideas of Hyppolyte Taine. Zvuk remains the only Serbian music magazine that published articles on ancient Greek music. Milos Djuric, a classical philologist, philosopher and literary translator, wrote on music in ancient Boeotia and Lesbos. This subject has remained untackled in Serbian musicology to this very day. In order to address the wider audience, the Zvuk magazine also featured contributions concerning the boundary areas between music and other disciplines. As many as three articles on Friedrich Nietzsche's attitude towards music were published by Yuri Arbatsky and Matija Bravnicar. Notwithstanding its professional profi le, this magazine was also open for popular articles for wider intellectual audience. The essays on West European art music in the Zvuk magazine contributed to widening the scope of knowledge and public interest. The policy of the editorial board was to bring together writers of different ideological standpoints, by publishing their essays side by side. In this way, the public was presented with different ideas and beliefs, but also with professional information. It was clear that one-sidedness was not the policy of this magazine. On the contrary, the editors proved that it was possible for writers who thought differently to engage in a dialogue, even if they had no prior intention of doing so.

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Masatović, Melani, Elvis Ciliga, and Marko Kršulja. "Ispitivanje zvučne izolacije u novoizgrađenoj zgradi." Zbornik Veleučilišta u Rijeci 5, no. 1 (2017): 159–74. http://dx.doi.org/10.31784/zvr.5.1.11.

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Provedeno je terensko mjerenje buke i zvučne izolacije u radnom i životnom okolišu na stambeno-poslovnoj novoizgrađenoj zgradi u Pazinu u ulici M. Belušića prema Zakonu o zaštiti od buke NN br. 30/09, Pravilniku o zaštiti radnika od izloženosti buci na radu NN br. 46/08, Pravilniku o najvišim dopuštenim razinama buke u sredini u kojoj ljudi rade i borave NN br. 145/04. Mjerenje buke izvršeno je zvukomjerom Brüel & Kjaer 2250 te se zvuk, odnosno bijeli šum, reproducirao pomoću uređaja toptalica (5 čekića na bregastoj osovini). Zvuk se mjerio u prijamnoj i u predajnoj sobi kako bi se odredio indeks zvučne izolacije Rw. Nakon analize i obrade podataka dobiveni rezultati uspoređeni su s važećim propisima. U radu su objašnjeni osnovni pojmovi vezani uz opis, mjerenja i utvrđivanja akustičkih parametara te posljedice dugotrajnog utjecaja izlaganja prekomjernim razinama buke kod čovjeka. Pri tome dane su i smjernice te preporuke za zaštitu od buke.

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Ristovska, Lidija, Zora Jachova, Rade Filipovski, and Nikica Atanasova. "Audiometric Findings in Patients with Subjective Tinnitus." Hrvatska revija za rehabilitacijska istraživanja 52, no. 1 (July 8, 2016): 42–50. http://dx.doi.org/10.31299/hrri.52.1.4.

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Tinitus je percepcija zvuka u odsutnosti vanjskog izvora zvuka. U većini slučajeva tinitus je prisutan uz istovremeno oštećenje sluha. Cilj istraživanja bio je utvrditi učestalost, vrstu i stupanj oštećenja sluha u pacijenata sa subjektivnim tinitusom te analizirati karakteristike tinitusa u odnosu na oštećenje sluha. Analizirali smo audiometrijske, otoskopske nalaze i medicinske izvještaje 1046 pacijenata, 573 muškaraca (54.8%) i 473 žena (45.2%), u dobi od 19 do 89 godina. Pacijenti su pregledani na Odjelu za otorinolaringologiju Gradske opće bolnice “8-mi Septemvri”, Skoplje, Republika Makedonija, u razdoblju od siječnja 2014. do listopada 2015. Statistička analiza podataka provedena je hi-kvadrat testom uz razinu značajnosti p<0.05. Većina pacijenata bili su muškarci u dobi od 60 do 69 godina (13.4%), ali nije bilo značajne razlike u distribuciji po dobi i spolu (p=0.156). Prevalencija gubitka sluha kod pacijenata s tinitusom bila je 91.9%. Većina pacijenata imala je bilateralni zamjedbeni gubitak sluha (58.2%), uglavnom na visokim frekvencijama (p<0.00001), te su opisivali svoj tinitus kao piskavi zvuk. Bilateralni tinitus bio je najčešće prisutan (59.4%), nakon čega slijedi lijevi jednostrani tinitus (22.8%). Akustična trauma i gubitak sluha izazvan bukom bili su prisutni u 27.8% svih otoloških stanja. Kod većine pacijenata sa subjektivnim tinitusom bio je prisutan neki stupanj gubitka sluha. Bilateralni, visoko frekventni tinitus i bilateralni zamjedbeni gubitak sluha, uglavnom na visokim frekvencijama, bili si najčešći nalazi. Akustična trauma i gubitak sluha izazvan bukom bili su najčešća otološka stanja, a tinitus izazvan bukom bio je najčešći tip tinitusa.

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Matošević, Andrea. "Zvuk deindustrijalizacije. Brodogradilište Uljanik i soundscape štrajka 2018. godine." Studia ethnologica Croatica 32 (2020): 259–82. http://dx.doi.org/10.17234/sec.32.12.

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Matošević, Andrea. "Zvuk deindustrijalizacije. Brodogradilište Uljanik i soundscape štrajka 2018. godine." Studia ethnologica Croatica 32 (2020): 259–82. http://dx.doi.org/10.17234/sec.32.12.

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Milovan, Valter. "Franci Blašković i Gori Ussi Winnetou - "Zvuk Istre kroz besidu"." Tabula : periodicus Facultatis philosophicae Polensis; rivista della Facoltà di lettere e filosofia; Journal od the Faculty of Humanities No. 9 (2011): 150–61. http://dx.doi.org/10.32728/tab.09.2011.11.

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Franci Blašković je s grupom Gori Ussi Winnetou od njezina nastanka 1986. godine do 2008. snimio 59 glazbenih albuma, promijenio mnogo suradnika, tekstopisaca i glazbenika te se okušao u mnogo glazbenih stilova da bi 2008. raspustio grupu. Uz kratak povijesni prikaz, u radu je iznesen pregled sastavnih elemenata tog povelikog korpusa; jezične značajke (besidarenje, jezične interferecije, višejezičnost i dijalektalnost, utjecaj talijanske pjesmarice, frazemi) te tematika (povijesne teme i kritika društveno-političkog sistema) pjesama grupe.

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de, Oliveira. "Franz Liszt's 'bell compositions': Attempting a survey." Zbornik Akademije umetnosti, no. 8 (2020): 84–96. http://dx.doi.org/10.5937/zbaku2008084o.

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Zyka, Vit. "Using pdfTeX III: movie and sound for presentation." Zpravodaj Československého sdružení uživatelů TeXu 12, no. 2 (2002): 47–55. http://dx.doi.org/10.5300/2002-2/47.

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Dissertations / Theses on the topic "Zvuk"

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Slivka, Jan. "Vlna zvuku / zvuk vlny." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232316.

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Čtvrtník, Jan. "Zvuk jako nástroj herce." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202906.

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My diploma thesis deals with the use of sound in the theater, especially the sound that is formed by the actor. The work consists of insight into the theory of sound in the theater, which includes rather general view of the issue and tries to formulate the concepts. Hereafter I use these in the second part, which is a reflection of the practical work, for which I selected three concrete examples of completed performances.

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Richtr, Jan. "Čas a zvuk ve filmu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371147.

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The theme of this diploma thesis is perception of time within the audiovisual work. Particular attention is paid to the audio component of the audiovisual work, from which perspective is seen the phenomenon of time. First there is briefly introduced understanding of time evolved within the philosophical context. The next part presents film as a medium that, from its formal nature, brings new impetus that further develops the thinking of time. After this introduction work focuses on the way of perceiving time within the sound itself, respectively in music composition. It is based on the findings of psychoacoustics and, above all, on the theoretical considerations of French composer Gérard Grisey, to which is trying to find parallels in the context of the sound dramaturgy of the film work. The last part deals with time relations arising from the relationship between film image and sound. It is trying to question and then generalize specific formal relationships within the audiovisual work, influencing the subjective perception of time.

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Klusák, Martin. "Zvuk v celovečerním filmu beze slov." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-172875.

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The main goal of this thesis is to describe the unofficial genre of films without speech and to analyze principles of the use of sound and film language in such films. Initial chapters speak generally about the phenomenon of feature nonverbal cinema with the focus on its historical development and general film language. The middle part presents, and briefly describes chosen films without speech, and suggests their sorting into sub-genres. The last, vastest part of the work, is an analytic study of various approaches to reduce speech generally throughout film. This part leads into the final theoretical description of soundtrack in films without speech.

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Rataj, Jakub. "Převod pohybu lidského těla na zvuk pomocí senzorů." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-253950.

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This work treats about the permeation of two different compositional approaches (real time technologie and instrumental composition) in proper piece of art - music and dance performance The Art of Manipulation. First I treat about the development of interactive motion sensing systems in the last fifty years and further I describe to different possibilities of their categorisation. In the next part I describe the performance The Art of Manipulation in terms of its dramaturgy and musical content. Further I deal with compositional methods that I used in the instrumental and electroacoustic musical plane and concurrently I analyze their relationship. In the end I describe the architecture and function of the virtual instrument used for real time sound recording and processing.

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Kravařík, Jindřich. "Současný stav problematiky hlasitosti zvukového signálu." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-253854.

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The topic of this thesis is the permanently worsening situation in the area of loudness and dynamic range of sound signals being delivered to customers, both on classic media and in broadcast. It discusses the reasons and consequences of the current situation. These problems are global and they have impact on every listener and viewer. Extremely varying loudness of broadcast and terrifying state of some records being published at big media houses are a target of complaints for a long time. At the time of writing, solutions to improve the situation are finally emerging. These solutions are evaluated in the last part of this thesis and using them examples of improperly treated dynamics are given.

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Patríková, Michaela. "Subjektivizace zvukového vjemu ve filmu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202915.

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The master's thesis deals with characterization of forms of subjective sound in film. The thesis is divided into several main parts. The first part is concerned with the principles of perception of sound and picture from the perspective of psychology, physiology and technology. Next part focuses on subjectivity in film itself. The aim of the remaining parts is to deal with subjectivisation of film sound, definition of Point of Audition (POA) term, analyzing categories of POA and the use of POA in the selection of films. Finally, a creative expression of POA is described and discussed. The analysis is accompanied by a DVD with clips.

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Stratílek, Jakub. "Dozvuk autentického prostoru a jeho nahrazení umělým dozvukem." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177728.

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Subject of this written work is as natural acoustic reverberation phenomenon in enclosed spaces used for music production and its replacement. The first chapter defines the reverberation as a physical phenomenon and defines the basic concepts. The second chapter is about reverberation authentic space, its characteristics and specific characteristics. The next chapter describes the properties of artificial reverberation, its parameters and potential problems. This chapter also shows you how to adapt artificial reverberation. The fourth chapter is devoted to a comparison of authentic and artificial reverberation. Here one can find a correlation between their parameters, the differences in the same excitation signal, compared the algorithmic and convolution with the aftermath of an authentic finish. Chapter Five then goes on to state requirements for artificial reverberation in auralization and also some basic aesthetic categories. The last chapter of this work describes a practical experiment that verifies the validity of the hypothesis replace natural reverberation. Subject experiment is auralization audio samples of an anechoic room and recording studio. The aim of the experiment is to simulate a concert hall reverberation.

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Hadraba, Jakub. "Vliv reprodukce sluchátek a reproduktorů na mix klasické hudby." Doctoral thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178088.

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Primary focus of the dissertation is comparison of loudspeaker and headphone reproduction and its influence on the mix balance of classical music recordings. A listening test, which represents an essential part of the thesis, was performed on a test group of sound engineers who prepared mixes of selected recordings using both loudspea-kers and headphones. An analysis of the resulting mixes was performed to find out if any systematic changes could be detected between headphone and loudspeaker mixes. The results disclosed a systematic change in preference of reverberation. Individual approaches of the sound engineers are documented by an extensive graphical section of the thesis. Level of stability of the individual models has been examined using repeated testing on selected participants. Selected headphone and loudspeaker mixes have been further evaluated by a listening group in a second listening test. Differences between the mixes were judged using both loudspeakers and headphones. Answers of the participants were analysed to see if there was an increased preference of headphone mixes when judged using headphones and vice versa. The results didn't show significant preference changes based on type of reproduction. The selected mixes weren't found to be "more optimal" when listened to on their respective reproduction device, nor could they be identified based on the subjective preference test. A special part is devoted to evaluation of an internet-based survey featuring a statistical documentation of loudspeaker and headphone usage in todays music recording industry. Special look has been taken at the group of respondents who indicated classical music as primary music genre of their profession. Another theoretical part of the thesis covers the artistic and technical approach of sound engineers to classical music sound image creation, including commonly used technical resources and stylization methods.

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Hamouzová, Eva. "Problematika ozvučování prostor v oblasti nízkých frekvencí." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-253760.

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This thesis offers insight to the issue of subwoolfer amplification in live sound application. The introduction discusses the role of subwoofers in sound practices and the impact of low-frequency spectrum of the human body. It describes a creation of PA system as process of design, construction and final control measurement. In first part thesis deals with principles of connecting several subwoolfer sources to the systems - Arrays. It describes Radiation patterns and evaluates consistency of sound field on low frequency range. Further part of work follow up the application of delay of whole system or its parts, Beam steering. The aim of this work is to evaluate particular systems from practical point of view when used in interiors and exteriors on so called "Open air" venues.

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Books on the topic "Zvuk"

1

Mosenkis, I͡Uriĭ. Zvuk zvukam zvuk. Kyïv: Vipol, 1998.

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Vujčić, Nikola. Rasuti zvuk. Čačak: Gradska biblioteka "Vladislav Petković Dis", 2009.

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Vujčić, Nikola. Rasuti zvuk. Čačak: Gradska biblioteka "Vladislav Petković Dis", 2009.

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Radonjic, Miroslav. Opredmeceni Zvuk. Novi Sad: SCiKI, 1988.

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Radonjić, Miroslav. Opredmećeni zvuk. Novi Sad: Srpska čitaonica i knjižnica Irig, 1988.

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Gasanova, R. T. Prostranstvo zvuka: (Muzykalʹnyĭ zvuk kak obʺekt mezhdist︠s︡iplinarnykh issledovaniĭ). Baku: "Ėlm,", 2006.

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Grigorʹeva, Nadezhda. Otkrytyĭ zvuk: Stikhi. Moskva: Sov. pisatelʹ, 1991.

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Andreeva, E. D. Zvuk i otzvuk. Moskva: In-t nasledii︠a︡, 2010.

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Arabadzhi, V. I. Zvuk v prirode. Nizhniĭ Novgorod: Nizhegorodskiĭ gumanitarnyĭ t︠s︡entr, 1997.

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Khorbenko, I. G. Zvuk, ulʹtrazvuk, infrazvuk. Moskva: Izd-vo "Znanie", 1986.

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Book chapters on the topic "Zvuk"

1

Kehl, Franz, and Hubert Böhrer. "Thoraxdrainage und ZVK." In Intensivmedizin Fragen und Antworten, 124–25. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-662-07957-7_34.

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Greated, M. "Zvuk." In Colour in Art, Design and Nature, 61–76. WIT Press, 2011. http://dx.doi.org/10.2495/978-1-84564-568-7/06.

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"The Sound of the Sundial (Zvuk slunečních hodin)." In Handbook of Polish, Czech, and Slovak Holocaust Fiction, 396–99. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110671056-097.

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"Nicht röntgendichter ZVK/ZVK-Fehllage/fehlende ZVK-Anlage." In Fehlentscheidungen in der Radiologie, edited by Klaus-Jürgen Lackner and Kathrin Barbara Krug. Stuttgart: Georg Thieme Verlag, 2009. http://dx.doi.org/10.1055/b-0035-107704.

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Wolff, Tory. "ZVU a.s." In Corporate Governance in Central Eastern Europe, 237–55. Routledge, 2019. http://dx.doi.org/10.4324/9781315502496-15.

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Sakka, S. G. "Zentraler Venenkatheter (ZVK)." In Hämodynamisches Monitoring, 55–66. Elsevier, 2013. http://dx.doi.org/10.1016/b978-3-437-31604-3.00007-5.

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"Zentralvenöse Katheter (ZVK)." In Thorax, edited by Michael Galanski, Sabine Dettmer, Marc Keberle, Jan Patrick Opherk, and Kristina Ringe. Stuttgart: Georg Thieme Verlag, 2010. http://dx.doi.org/10.1055/b-0035-107688.

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"Fehllage des ZVK?" In Fehlentscheidungen in der Radiologie, edited by Klaus-Jürgen Lackner and Kathrin Barbara Krug. Stuttgart: Georg Thieme Verlag, 2009. http://dx.doi.org/10.1055/b-0035-107707.

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"Meningitis/meningeale Granulomatose/meningeale Tumoraussaat/Einblutung/ZVK-Fehlfunktion/ZVK-Fehllage." In Fehlentscheidungen in der Radiologie, edited by Klaus-Jürgen Lackner and Kathrin Barbara Krug. Stuttgart: Georg Thieme Verlag, 2009. http://dx.doi.org/10.1055/b-0035-107732.

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"24.10 Zentralvenöser Katheter (ZVK)." In Internistische Notfälle, edited by Ronald A. Schoenenberger, Walter E. Haefeli, and Jürg A. Schifferli. Stuttgart: Georg Thieme Verlag, 2009. http://dx.doi.org/10.1055/b-0034-36123.

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Conference papers on the topic "Zvuk"

1

Chatlatanagulchai, Withit, Supparat Damyot, and Pisit Intarawirat. "Switching ZVDk input shaper for flexible closed-loop system with saturation." In 2017 American Control Conference (ACC). IEEE, 2017. http://dx.doi.org/10.23919/acc.2017.7963647.

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