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Artículos de revistas sobre el tema "Expressivité vocale"

Autor: Grafiati
Publicado: 25 de mayo de 2024
Última modificación: 31 de julio de 2025

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1

Malatesta-Magai, Carol, Sharon Leak, Johanna Tesman, Beth Shepard, Clayton Culver, and Beatrice Smaggia. "Proffles of Emotional Development: Individual Differences in Facial and Vocal Expression of Emotion during the Second and Third Years of Life." International Journal of Behavioral Development 17, no. 2 (1994): 239–69. http://dx.doi.org/10.1177/016502549401700202.

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This study is a third-year (34 months) follow-up investigation of the socioemotional behaviours of preterm and fullterm children previously seen at four points in time during the first two years of life. A total of 42 mother/ child pairs were seen for videotaped mother/child and child/peer play sessions. The tapes were coded on a second-to-second basis using Izard's MAX facial affect coding system and a vocal affect coding system. Data analysis focused on the contribution of the individual difference variables of gender, birth status, attachment classification, and maternal contingency behavio
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2

Kim, Heejung, Youngshin Cho, Sunghee Lee, and Chaehyeon Kang. "MULTIMODAL AFFECTIVE ANALYSIS OF FACIAL AND VOCAL EXPRESSIVITY USING SMARTPHONE AND DEEP LEARNING ANALYSIS." Innovation in Aging 6, Supplement_1 (2022): 593–94. http://dx.doi.org/10.1093/geroni/igac059.2221.

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Abstract Limited expressivity of emotion is one of the most common symptoms of major depression, particularly in older adults. Although assessing facial and vocal expressivity is very important for accurate clinical evaluation of geriatric depression, research has rarely examined older adults via telehealth technology. This study aims to quantify facial and vocal expressivity via a multimodal affective system with deep learning. A total of 19 Korean adults aged over 65 years with severe depressive symptoms participated in this research. Using smartphone video recording, 1,429 facial and vocal
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3

Abbas, Anzar, Bryan J. Hansen, Vidya Koesmahargyo, et al. "Facial and Vocal Markers of Schizophrenia Measured Using Remote Smartphone Assessments: Observational Study." JMIR Formative Research 6, no. 1 (2022): e26276. http://dx.doi.org/10.2196/26276.

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Background Machine learning–based facial and vocal measurements have demonstrated relationships with schizophrenia diagnosis and severity. Demonstrating utility and validity of remote and automated assessments conducted outside of controlled experimental or clinical settings can facilitate scaling such measurement tools to aid in risk assessment and tracking of treatment response in populations that are difficult to engage. Objective This study aimed to determine the accuracy of machine learning–based facial and vocal measurements acquired through automated assessments conducted remotely throu
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4

Elblaus, Ludvig, Carl Unander-Scharin, and Åsa Unander-Scharin. "Singing Interaction: Embodied Instruments for Musical Expression in Opera." Leonardo Music Journal 24 (December 2014): 7–12. http://dx.doi.org/10.1162/lmj_a_00187.

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In the opera Sing the Body Electric! A Corporatorio, artists from the disciplines of opera, dance and the development of new musical instruments collaborated to create an onstage fusion of different technologies and artistic practices that connected performer, scenography and instrument. Gestures and movements of singers were captured by custom-built technologies. The singers also used custom-built technologies for transforming their vocal qualities and for creating synthesized accompaniment in real time. In this way the singers’ bodily musical processes further extended their vocal performanc
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5

Bickford, Tyler. "Music of Poetry and Poetry of Song: Expressivity and Grammar in Vocal Performance." Ethnomusicology 51, no. 3 (2007): 439–76. http://dx.doi.org/10.2307/20174545.

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6

Arya, Shantanu, Sachin ., L. N. Garg, Tashi Wangmo, Nima Zangmo, and Komal Sharma. "Changes in speech charactersitics post thymoma." International Journal of Otorhinolaryngology and Head and Neck Surgery 5, no. 1 (2018): 212. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20185318.

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<p class="abstract">Thymomas are rare tumors of the anterior mediastinum that may be benign or malignant. Thymomas are frequently associated with neuromuscular disorders like myasthenia gravis. Multiple cranial nerves are involved which may affect speech of the patients. Flaccid dysarthria is one of the common motor speech disorders associated with thymoma. Other characteristics may include decrease of intelligibility, reduced vocal stamina, reduction of emotional expressivity etc. The present case study illustrates changes in speech characteristics in a 35 year old male patient with thy
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7

Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.

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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and
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8

Paschalidou, Stella. "Laban Effort in Empty-Handed Interactions of Hindustani Dhrupad Vocal Improvisation." Arts 13, no. 6 (2024): 177. https://doi.org/10.3390/arts13060177.

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Effort, commonly understood as the power of an action toward an intended goal, is acknowledged as an important aspect of music expressivity. Previous studies in Hindustani Dhrupad vocal improvisation, particularly those focusing on manual interactions with imaginary objects, have revealed the intricate connection between effort and various movement and melodic variables. The study employed manual annotations by participants who visually inspected and assessed the amount of effort that such interactions were perceived to require. However, since effort is inherently perceptual and subjective and
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9

Sokolskaya, Anna. "“Obedient bodies”: Space, time and sound in the operas by Christoph Marthaler." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (2020): 34–49. http://dx.doi.org/10.18522/2415-8852-2020-1-34-49.

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The article discusses the relationships between musical performance, theatrical space and gesturality in Christoph Marthaler’s operatic productions. The stage design, the types of actor’s physical and vocal expressivity in “Le Nozze di Figaro”, “La Grande Duchesse de Gérolstein”, “Kát’a Kabanová”, “Věc Makropulos”, “Les Contes d’Hoffmann” and “Tristan und Isolde” are studied. Gesture, vocalisation and text in Marthaler’s productions are discussed and interpreted by considering the mismatching of dance and musical rhythm, the contrast of academical and non-academical singing manners or sound
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10

Khilko, Natalia P. "Le marteau sans Maître by Pierre Boulez as a System of Cycles." Problemy Muzykal'noj Nauki / Music Scholarship, no. 3 (2022): 155–70. http://dx.doi.org/10.56620/2782-3598.2022.3.155-170.

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The article presents the results of the cyclical organization of Pierre Boulez’s Le Marteau sans maître in the aspect of combining the principles of linear and non-linear organization. The composer created a work of a probabilistic type, in which dispersed and localized sub-cycles coexist with each other. Their core is formed by the vocal movements in which René Char’s poems are interpreted. The number of compositional units in these structural-thematic groups coincides with the quantitative factor of the segments of the composition’s main series. The embedding of sub-cycles homogenous in thei
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11

Czajkowski, Anne-Marie Louise, Alinka Elizabeth Greasley, and Michael Allis. "Mindfulness for Singers: A Mixed Methods Replication Study." Music & Science 4 (January 1, 2021): 205920432110448. http://dx.doi.org/10.1177/20592043211044816.

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Objectives: Mindfulness has been explored in the clinical and educational fields but has rarely been studied in the music domain. This study investigated the effects of teaching eight-week Mindfulness for Singers courses on vocalists’ music education and performance. Methods: A mixed methods approach was utilized, which included controlled and randomized controlled trials using standardized and novel mindfulness measures pre- and post-intervention, interviews post-intervention and three months later, concurrent diaries, and a blinded teacher study. Participants included singing students (total
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12

HUBBS, NADINE. "‘I Will Survive’: musical mappings of queer social space in a disco anthem." Popular Music 26, no. 2 (2007): 231–44. http://dx.doi.org/10.1017/s0261143007001250.

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AbstractThis essay reconsiders the constituencies of fans and detractors present at prime and bursting 1970s dicsos. It argues for a more gender-inclusive conception of discos multiracial ‘gay’ revellers and for a particular convoluted conception of ‘homophobia’ as this applies to the Middle-American youths who raged against disco in midsummer 1979. Their historic eruption at Chicago’s Comiskey Park came just weeks after the chart reign of Gloria Gaynor’s ‘I Will Survive’, today a classic emblem of gay culture in the post-Stonewall and AIDS eras and arguably disco’s greatest anthem. Disco insp
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13

Zhu, Z., Y. Wu, J. Seidel, D. Roy, and E. Salzmann. "Linking Digital Traits from Facial Expression, Voice, and Head Motion to Montgomery–Åsberg Depression Rating Scale Subscales." European Psychiatry 67, S1 (2024): S275. http://dx.doi.org/10.1192/j.eurpsy.2024.576.

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IntroductionThe 10-item Montgomery–Åsberg Depression Rating Scale (MADRS) measures different dimensions of depression symptomatology. Digital traits may generate deeper understanding of the MADRS subscales and provide insights about depression symptomatology.ObjectivesTo identify digital traits that predict specific MADRS subscales and ascertain which digital traits are important for which MADRS subscales.Methods During a Phase II decentralised clinical trial in major depressive disorder (MDD), patients completed the MADRS and used AiCure (LLC, New York, NY, USA), a smartphone application, to
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14

. G, Jai. "Artificial Intelligence in Rehabilitation Targeting the Participation of Children and Youth with Disabilities." INTERNATIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 09, no. 06 (2025): 1–9. https://doi.org/10.55041/ijsrem49433.

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1. Research Question: Will there be any effective change of Artificial Intelligence in childrens with disability? 2. Introduction: Artificial intelligence (AI) is defined as area of science and engineering concerned with the computational understanding of what is often referred to as intelligent behaviour, as well as the design of artefacts that display such behaviour. The modern field of AI began at Dartmouth College in 1956. AI will have a huge impact on our society and experts say that now is the time to prepare for a rapidly-changing, AI-powered economy. These devices behave more like soci
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15

Burel, O. V. "About compositions for piano and orchestra by Ch.-M. Widor. Background." Aspects of Historical Musicology 13, no. 13 (2018): 45–60. http://dx.doi.org/10.34064/khnum2-13.04.

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Ch.-M. Widor (1844–1937) inscribed his name in the history of French music primarily as an author of organ works (10 Organ Symphonies, 1872–1900, in particular). But other genre branches of his creativity (symphonic, chamber-instrumental, chamber-vocal, operatic, choral) remains less famous for wide public. This quite vast layer is mostly not studied in musical science. However, at the recent time the interest is somewhat growing both among musicologists (A. Thomson, E. Krivitskaya, M. R. Bundy), and among the performers, which confi rms the relevance of this article. The objectives of this st
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16

Jiang, Qin. "The image of Oksana in the opera by N. Rimsky Korsakov “Christmas Eve”: a composer plan and a performing embodiment." Aspects of Historical Musicology 18, no. 18 (2019): 57–72. http://dx.doi.org/10.34064/khnum2-18.04.

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Background. The modern science reconsiders various conceptions, which were influencing the theory and practice of musical art over the centuries. Particularly, there is much talk today about the fact that marking of female opera roles as “coloratura” according to the principle of their technical complexity and diapason wideness is quite nominal and not connected directly with singing voices’ gradation. Gradually entrenched tendency of denial of the female voice’s definition as “coloratura” has developed, and it is based on the argument that this characteristic reflects parameters of composer’s
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17

Madureira, Sandra, Mario Augusto de Souza Fontes, and Zuleica Camargo. "Sound symbolism, speech expressivity and crossmodality." Signifiances (Signifying) 3, no. 1 (2019). http://dx.doi.org/10.52497/signifiances.v3i1.234.

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The direct links existing between sound and meaning which characterize sound symbolism can be thought of as mainly related to two kinds of phenomena: sound iconicity and sound metaphors. The first refers to the mirror relations established between sound and meaning effects (Nobile, 2011) and the latter as coined by Fonagy (1983) refers to the relationships based on analogies between meaning and speech sound production characteristics. Four relevant codes to the study of sound symbolism phenomena have been mentioned in the phonetic literature: the frequency code (Ohala, 1994), the respiratory c
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18

Hurley, Craig R., and Rebecca L. Atkins. "The Effects of Modeling and Sequence on the Expressivity of Young Voices." Update: Applications of Research in Music Education, May 13, 2024. http://dx.doi.org/10.1177/87551233241249666.

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Choral method textbooks include various strategies on when and how to introduce expression in song acquisition including vocal modeling. In two previous studies, participants who learned expressive elements early in a song-learning sequence (infused-expression) performed those elements more accurately than those who learned them at the end of the sequence (post-expression). However, the infused-expression sequence had an expressive model throughout, whereas the post-expression sequence had an expressive model only at the beginning and end. The purpose of this study was to remove the modeling v
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19

Abbas, Anzar, Colin Sauder, Vijay Yadav, et al. "Remote Digital Measurement of Facial and Vocal Markers of Major Depressive Disorder Severity and Treatment Response: A Pilot Study." Frontiers in Digital Health 3 (March 31, 2021). http://dx.doi.org/10.3389/fdgth.2021.610006.

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Objectives: Multiple machine learning-based visual and auditory digital markers have demonstrated associations between major depressive disorder (MDD) status and severity. The current study examines if such measurements can quantify response to antidepressant treatment (ADT) with selective serotonin reuptake inhibitors (SSRIs) and serotonin–norepinephrine uptake inhibitors (SNRIs).Methods: Visual and auditory markers were acquired through an automated smartphone task that measures facial, vocal, and head movement characteristics across 4 weeks of treatment (with time points at baseline, 2 week
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20

Hubbs, Nadine. "'I Will Survive': musical mappings of queer social space in a disco anthem." April 26, 2007. https://doi.org/10.1017/s0261143007001250.

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This essay reconsiders the constituencies of fans and detractors present at disco's 1970s prime and subsequent bursting. It argues for a more gender-inclusive conception of disco's multiracial 'gay' revelers and for a particular convoluted conception of 'homophobia' as this applies to the Middle-American youths who raged against disco in midsummer 1979. Their historic eruption at Chicago's Comiskey Park came just weeks after the chart reign of Gloria Gaynor's 'I Will Survive', today a classic emblem of gay culture in the post-Stonewall and AIDS eras and arguably disco's greatest anthem. Disco
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21

Finkel, Emma, Eric Sah, McKenna Spaulding, et al. "Physiological and communicative emotional disconcordance in children on the autism spectrum." Journal of Neurodevelopmental Disorders 16, no. 1 (2024). http://dx.doi.org/10.1186/s11689-024-09567-4.

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Abstract Background Individuals on the autism spectrum commonly have differences from non-autistic people in expressing their emotions using communicative behaviors, such as facial expressions. However, it is not yet clear if this reduced expressivity stems from reduced physiological reactivity in emotional contexts or if individuals react internally, but do not show these reactions externally to others. We hypothesized that autism is characterized by a discordance between in-the-moment internal psychophysiological arousal and external communicative expressions of emotion. Methods Forty-one ch
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22

Paschalidou, Stella. "Effort inference and prediction by acoustic and movement descriptors in interactions with imaginary objects during Dhrupad vocal improvisation." Wearable Technologies 3 (2022). http://dx.doi.org/10.1017/wtc.2022.8.

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Abstract In electronic musical instruments (EMIs), the concept of “sound sculpting” was proposed by Mulder, in which imaginary objects are manually sculpted to produce sounds, although promising has had some limitations: driven by pure intuition, only the objects’ geometrical properties were mapped to sound, while effort—which is often regarded as a key factor of expressivity in music performance—was neglected. The aim of this paper is to enhance such digital interactions by accounting for the perceptual measure of effort that is conveyed through well-established gesture-sound links in the eco
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23

Purchase, Scott. "Jazz Composition." Inquiry@Queen's Undergraduate Research Conference Proceedings, November 29, 2017. http://dx.doi.org/10.24908/iqurcp.7788.

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Music composition is an art of courage and thoroughness. After nearly four years of playing jazz with Queen’s music professor Greg Runions (winner of the 2006-07 Queens Music Department Teaching Award) and studying music theory and analysis, I have recently delved into the fascinating art of writing original music in the broadly defined jazz idiom. The opportunity to give something back to the creative music community has been both humbling and inspiring. Through Prof. Runions impressive experience as a prolific local composer, I have learned about the challenges of connecting melodic ideas wi
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24

Farmer, Brett. "Loving Julie Andrews." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.1998.

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At the beginning of his recent collection of essays in queer studies, Jeffrey Escoffier makes the assertion at once portentous and banal that “the moment of acknowledging to oneself homosexual desires and feelings … and then licensing oneself to act ... is the central drama of the homosexual self.” That “moment of self-classification,” he explains, “is an emergency – sublime, horrible, wonderful – in the life of anyone who must confront it.” (1) In the theatre of my own biography, I am unsure how or when I first played out this epiphanic drama of queer self-acknowledgment, but I can vividly re
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