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Artículos de revistas sobre el tema "Voice passages"

Autor: Grafiati

Publicado: 25 de mayo de 2024

Última modificación: 31 de julio de 2025

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1

Hughes, James R. "Generalizing the Orbifold Model for Voice Leading." Mathematics 10, no. 6 (2022): 939. http://dx.doi.org/10.3390/math10060939.

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We generalize orbifold models for chords and voice leading to incorporate loudness, allowing for the modeling of resting voices, which are used frequently by composers and arrangers across genres. In our generalized setting (strictly speaking, that of orbispaces rather than an orbifolds), passages with resting voices, passages with two or more voices in unison, and fully harmonized passages occupy distinct subspaces that interact in mathematically precise and musically interesting ways. In particular, our setting includes previous orbifold models by way of constant-loudness subspaces, and prov

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2

Chan, Eugene Y., and Sam J. Maglio. "The Voice of Cognition: Active and Passive Voice Influence Distance and Construal." Personality and Social Psychology Bulletin 46, no. 4 (2019): 547–58. http://dx.doi.org/10.1177/0146167219867784.

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English passages can be in either the active or passive voice. Relative to the active voice, the passive voice provides a sense of objectivity regarding the events being described. This leads to our hypothesis that passages in the passive voice can increase readers’ psychological distance from the content of the passage, triggering an abstract construal. In five studies with American, Australian, British, and Canadian participants, we find evidence for our propositions, with both paragraphs and sentences in the passive voice increasing readers’ felt temporal, hypothetical, and spatial distance

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3

Iwamitsu, Yumi, Mitsuko Ando, Ikumi Honda, Akie Hashi, Sachiko Tsutsui, and Naoto Yamada. "Nurses' Comprehension and Recall Process of a Patient's Message with Double-Bind Information." Psychological Reports 88, no. 3_suppl (2001): 1135–41. http://dx.doi.org/10.2466/pr0.2001.88.3c.1135.

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We examined nurses' comprehension and recall process of patients' passage with double-bind information. We focused on two modes of communication, tone of voice and content of speech. The experiment followed a 2 × 2 × 2 design with respect to listeners (nurse vs student), tone of voice (positive vs negative), and verbal content (positive vs negative). Subjects were 79 nurses who worked at the university hospital and 99 students who were studying at the Faculty of Nursing. Nurses and students were randomly divided into four subgroups; each was presented one of four professionally tape-recorded s

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4

Henderson, Cecelia A., and Yingchen He. "Screen Reader Voices: Effects of Pauses and Voice Changes on Comprehension." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 66, no. 1 (2022): 1839–43. http://dx.doi.org/10.1177/1071181322661291.

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This study seeks to investigate the effects of manipulating aspects of a text-to-speech (TTS) voice on the learning and comprehension of a short passage, as well as detection of aspects of the passage such as its organization and key information. Pauses and pitch changes were used to demarcate this type of information. Participants listened to the passages and answered a series of cued and uncued recall questions to measure comprehension and learning, followed by a task to identify header structure. Preliminary results show trends that adding pauses might be beneficial, but more participants a

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5

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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6

Khan, Anam Ahmad, Joshua Newn, Ryan M. Kelly, Namrata Srivastava, James Bailey, and Eduardo Velloso. "GAVIN." ACM Transactions on Computer-Human Interaction 28, no. 4 (2021): 1–32. http://dx.doi.org/10.1145/3453988.

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Annotation is an effective reading strategy people often undertake while interacting with digital text. It involves highlighting pieces of text and making notes about them. Annotating while reading in a desktop environment is considered trivial but, in a mobile setting where people read while hand-holding devices, the task of highlighting and typing notes on a mobile display is challenging. In this article, we introduce GAVIN, a gaze-assisted voice note-taking application, which enables readers to seamlessly take voice notes on digital documents by implicitly anchoring them to text passages. W

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7

Zayaruznaya, Anna. "‘SHE HAS A WHEEL THAT TURNS …’: CROSSED AND CONTRADICTORY VOICES IN MACHAUT'S MOTETS." Early Music History 28 (August 24, 2009): 185–240. http://dx.doi.org/10.1017/s0261127909000370.

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The tiered structure of Machaut's motets is often taken for granted: the tenor is the lowest voice, the motetus is in the middle, and the triplum is highest. While this is mostly true of Machaut's work and of Ars nova motets more generally, there are a number of significant exceptions – passages in which the upper voices switch roles and the motetus sings at the top of the texture. The most striking of these are consistently linked with the goddess Fortuna. In Motets 12, 14 and 15, moments of voice-crossing serve to illustrate the actions of the goddess, who traditionally raises the low and lo

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8

Mansfeld, Jaap. "'Illuminating What is Thought'. A Middle Platonist Placitum On 'voice' in Context." Mnemosyne 58, no. 3 (2005): 358–407. http://dx.doi.org/10.1163/1568525054796818.

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AbstractThe Plato κɛπαλαιον in Aëtius' chapter On Voice is the result of the interpretation, modernization, and systematization of brief passages dealing with hearing, voice and speech to be found in several dialogues. This construction of Plato's doctrine of 'voice' was mainly inspired by the systematic and innovative Stoic τóπος On Voice. The 'physical' definition is based on passages in Theaetetus and other works, the 'physiological' on a passage in Timaeus. The distinction and relation between voiceless internal λóγος (or thought) and spoken λóγος in Theaetetus and Sophist was interpreted

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9

Duarte-Borquez, Claudia, Maxine Van Doren, and Marc Garellek. "Utterance-Final Voice Quality in American English and Mexican Spanish Bilinguals." Languages 9, no. 3 (2024): 70. http://dx.doi.org/10.3390/languages9030070.

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We investigate utterance-final voice quality in bilinguals of English and Spanish, two languages which differ in the type of non-modal voice usually encountered at ends of utterances: American English often has phrase-final creak, whereas in Mexican Spanish, phrase-final voiced sounds are breathy or even devoiced. Twenty-one bilinguals from the San Diego-Tijuana border region were recorded (with electroglottography and audio) reading passages in English and Spanish. Ends of utterances were coded for their visual voice quality as “modal” (having no aspiration noise or voicing irregularity), “br

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10

CHARLES-LUCE, JAN, KELLY M. DRESSLER, and ELVIRA RAGONESE. "Effects of semantic predictability on children's preservation of a phonemic voice contrast." Journal of Child Language 26, no. 3 (1999): 505–30. http://dx.doi.org/10.1017/s030500099900389x.

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We investigated the effects of semantic predictability on children's preservation of the /t/-/d/ phonemic voice contrast in American English. In Experiment 1, a total of 36 seven-, nine-, and twelve-year-olds produced minimal pairs differing in intervocalic /t/ and /d/ in semantically biasing and semantically neutral passages. The seven-year-olds preserved the phonemic contrast in both passage types. However, for the nine- and twelve-year-olds, total word duration and preceding vowel duration preserved the /t/-/d/ contrast, but this interacted with semantic predictability. The contrast was pre

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11

Bradley, Catherine A. "Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family." Journal of Musicology 32, no. 2 (2015): 153–97. http://dx.doi.org/10.1525/jm.2015.32.2.153.

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This article examines a family of thirteenth-century discant and motets on the tenor LATUS, tracing complex relationships between the various incarnations of its shared musical material: passages of melismatic discant in two- and three-voices, a three-voice Latin conductus motet, a two-voice Latin and French motet, and a three-voice Latin double motet. I query conventional fundamentally linear models of discant-motet interaction, emphasizing the possibility of simultaneously filial and collateral interrelationships between versions: different motet texts can influence each other, while retaini

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12

Van Lierde, K. M., F. L. Wuyts, M. De Bodt, and P. Van Cauwenberge. "Nasometric Values for Normal Nasal Resonance in the Speech of Young Flemish Adults." Cleft Palate-Craniofacial Journal 38, no. 2 (2001): 112–18. http://dx.doi.org/10.1597/1545-1569_2001_038_0112_nvfnnr_2.0.co_2.

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Objective The purpose of this study was to obtain normative nasalance scores for adult subjects speaking the Flemish language. Additional objectives of the study were to determine if speaker sex played a role in differences in nasalance scores and if significantly different nasalance scores existed for Flemish compared with other languages or dialects. Design Nasalance scores were obtained while young Flemish adults read three standard nasalance passages. These passages were an oronasal passage (a text that contained the same approximate percentage of nasal consonants as found in the standard

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13

Voinov, Vitaly. "Intrusive Voices: Translating Unexpected Changes of Speaker in the Bible." Bible Translator 71, no. 3 (2020): 281–302. http://dx.doi.org/10.1177/2051677020962171.

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When a change of speaker in a Scripture text is not explicitly introduced by a speech orienter, Bible readers may feel the text is “intrusive.” This article proposes a taxonomy for categorizing such intrusive voices in various passages of Scripture. The intrusion may be external (due to scribal activity) or internal (as written by the original author). Internal intrusions can be further classified as citations or unmarked conversational turns. Textual signals that a change of speaker has occurred in the original texts include a change in deictic reference (primarily pronominal) and change in s

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14

Cimaglia, Riccardo. "Relative indirette libere e causali indirette libere nella narrativa italiana ottocentesca." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 48, no. 2 (2013): 221–53. http://dx.doi.org/10.1075/rro.48.2.02cim.

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In this paper I will analyze two subordinate clauses which can be frequently found within free indirect reported speech (FIRS, in the paper DIL): relative and causal clauses. After a short illustration of FIRS I will examine the two clauses with an analysis of the passages in FIRS from Italian narrative literature of the XIX century (especially Manzoni and Verga). A relative or a causal clause can recur within a FIRS passage, can open it or can constitute on its own a FIRS passage becoming, respectively, free indirect relative clause (FIRC, in the paper RIL) and free indirect causal clause (FI

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15

Gasti, Helen. "Authorial presence in Sophocles’ Electra." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas 33, no. 1 (2021): 51–65. http://dx.doi.org/10.25145/j.fortunat.2021.33.03.

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Authorial presence in tragedy, where the poet never speaks in his own person and where there is no master voice to guide our reception, is elusive and implicit. Despite tragedy’s polyphony the purpose of this study is to analyze some sample passages from Sophocles’ Electra for textual traces of its author’s voice as a response to Aeschylus’ Oresteia. Each part of this study is focusing on different aspects of self-reflexive poetics.

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16

Blaisdell, Jay, and James B. Talmage. "Impairment of Face-, Nose-, and Throat-related Structures Sixth Edition Approaches." Guides Newsletter 24, no. 2 (2019): 12–14. http://dx.doi.org/10.1001/amaguidesnewsletters.2019.marapr03.

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Abstract Facial disfigurements, including those caused by burns (thermal, chemical, or electrical) or trauma, are rated in the AMA Guides to the Evaluation of Permanent Impairment (AMA Guides), Sixth Edition, Chapter 11, which also discusses occupational overexposure to sunlight, airborne chemicals, heavy metals, and allergens that may lead to head and neck cancers and degraded ability to breathe, chew, swallow, smell, or speak. Additional relevant impairments include those of olfaction and taste, chewing and swallowing, voice and speech, and of the upper respiratory passages. For upper air pa

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17

Bolay, Jordan. "‘Their song was partial; but the harmony […] suspended hell’: Intertextuality, voice and gender in Milton/Symphony X’s Paradise Lost." Metal Music Studies 5, no. 1 (2019): 5–20. http://dx.doi.org/10.1386/mms.5.1.5_1.

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I illustrate how Symphony X’s concept album retells Milton’s Paradise Lost and complicates the narrative through its use of voice and creative extrapolation, resulting in an intertextual relationship through which the album and epic influence one another’s readings, particularly with regard to gender and the biblical binary of good/evil. One of the difficulties in interpreting the album is that singer Russell Allen shifts his tone of voice to suit the mood of the song, not to denote a change in speaker. Thus, key passages that blend characters’ voices on the album further emphasize the deconst

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18

RICE, JOHN A. "THE MORTE: A GALANT VOICE-LEADING SCHEMA AS EMBLEM OF LAMENT AND COMPOSITIONAL BUILDING-BLOCK." Eighteenth Century Music 12, no. 2 (2015): 157–81. http://dx.doi.org/10.1017/s1478570615000287.

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ABSTRACTEighteenth-century composers wrote many passages in which a treble line rises from scale degrees 1 or 3 up to 5, while the bass descends chromatically from 1 down to 5. The diverging lines reach an octave by way of an augmented-sixth interval. These passages represent a voice-leading schema analogous to those introduced by Robert O. Gjerdingen in his book Music in the Galant Style. Following Gjerdingen's use of Italian words to refer to some of his schemata, I propose the word ‘Morte’ for this schema and survey its use by musicians, who relied on it not only as an intensely expressive

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19

Bray, Joe. "The ‘dual voice’ of free indirect discourse: a reading experiment." Language and Literature: International Journal of Stylistics 16, no. 1 (2007): 37–52. http://dx.doi.org/10.1177/0963947007072844.

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The emergence of cognitive poetics has focused attention on how stylistic features are processed by readers. One area ripe for empirical investigation in this respect is point of view. Little attention has previously been paid in cognitive science to the specifics of how point of view is identified during reading. This essay reports on an experiment designed to examine how readers respond to a narrative style that has attracted a great deal of interest from both stylisticians and literary critics: free indirect discourse. The experiment tested two questions in particular: (1) Do readers hear a

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20

Lorkowski, C. M. "Doxastic Naturalism and Hume's Voice in theDialogues." Journal of Scottish Philosophy 14, no. 3 (2016): 253–74. http://dx.doi.org/10.3366/jsp.2016.0142.

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I argue that acknowledging Hume as a doxastic naturalist about belief in a deity allows an elegant, holistic reading of his Dialogues. It supports a reading in which Hume's spokesperson is Philo throughout, and enlightens many of the interpretive difficulties of the work. In arguing this, I perform a comprehensive survey of evidence for and against Philo as Hume's voice, bringing new evidence to bear against the interpretation of Hume as Cleanthes and against the amalgamation view while correcting several standard mistakes. I ultimately isolate the interpretation of Philo's Reversal at the end

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21

Vespa, Marco. "A Voice without a Muse." Greek and Roman Musical Studies 5, no. 2 (2017): 159–77. http://dx.doi.org/10.1163/22129758-12341298.

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Ancient sources often describe non-human primates as imitative animals, i.e., living beings able to reproduce, with different degrees of perfection, gestures and movements carried out by human beings. Indeed monkeys are often characterized asmimeloi, mimetikoi, terms coming from the same semantic field of the nounmimos(< *mim-).But what about the world of sounds? Are non-human primates regarded as good imitators and performers also when it comes to music and singing? Ancient evidence clearly indicates that other animal species (like nightingales or partridges), and not monkeys, were mainly

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22

Front, Izabela. "Un Dieu sadique : le rôle de l’image blasphématoire de Dieu dans Dolce agonia de Nancy Huston." Quêtes littéraires, no. 3 (December 30, 2013): 160–66. http://dx.doi.org/10.31743/ql.4617.

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The present article seeks to analyze the way in which the blasphemous figure of God in Dolce agonia by Nancy Huston allows the author to describe the sacred element in human life, seen as deprived of transcendental character. This is possible thanks to the three aspects of the text dependent on the type of God’s figure, which are: the contrast between passages marked by the cynical God’s voice and passages focused on man’s life filled with suffering; the tone and the appropriation of time var-iations and, finally, the double character of God who, at the same time, is indifferent to man’s lot w

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23

Johnson, Randolph B., David Huron, and Lauren Collister. "Music and Lyrics Interactions and their Influence on Recognition of Sung Words: An Investigation of Word Frequency, Rhyme, Metric Stress, Vocal Timbre, Melisma, and Repetition Priming." Empirical Musicology Review 9, no. 1 (2013): 2. http://dx.doi.org/10.18061/emr.v9i1.3729.

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This study investigated several factors presumed to influence the intelligibility of song lyrics. Twenty-seven participants listened to recordings of musical passages sung in English; each passage consisted of a brief musical phrase sung by a solo voice. Six vocalists produced the corpus of sung phrases. Eight hypotheses derived from common phonological and prosodic principles were tested. Intelligibility of lyrics was degraded: (i) when archaic language was used; (ii) when words were set in melismatic rather than syllabic contexts; (iii) when the musical rhythm did not match the prosodic spee

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24

Salles, Paulo. "Voice Leading Among Pitch-Class Sets: Revisiting Allen Forte’s Genera." MusMat: Brazilian Journal of Music and Mathematics IV, no. 2 (2020): 66–79. http://dx.doi.org/10.46926/musmat.2020v4n2.66-79.

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The theory of PC-set class genera by Allen Forte was an important contribution to the understanding of similarity relations among PC sets within the tempered system. The growing interaction between the universes of PC-sets and transformational theories has been explored the space between sets of the same or distinct cardinality, by means of voice-leading procedures. This paper intends to demonstrate Forte’s method along with proposals by other authors like Morris, Parks, Straus, Cohn, and Coelho de Souza. Some analysis demonstrates such operations in passages picked from Heitor Villa-Lobos’s w

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25

Radošević, Andrea. "Croatian Translation of Biblical Passages in Medieval Performative Texts." Studies in Church History 53 (May 26, 2017): 223–41. http://dx.doi.org/10.1017/stc.2016.14.

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This article will examine the Croatian translations of the biblical parts of medieval Latin performative texts (sermons, dialogues) which were translated in the fifteenth and sixteenth centuries and written in Glagolitic script. The Croatian translators were acquainted with the parts of Scripture which were read during the liturgy. Their knowledge of the Bible was evident in the addition of archaisms typical for Glagolitic liturgical books written in Croatian Church Slavonic. Often the quotations from Scripture were adjusted to the narrator's (or preacher's) voice in different ways, by changin

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Gallena, Sally K., and James A. Pinto. "How Graduate Students With Vocal Fry Are Perceived by Speech-Language Pathologists." Perspectives of the ASHA Special Interest Groups 6, no. 6 (2021): 1554–65. http://dx.doi.org/10.1044/2021_persp-21-00083.

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Purpose: Vocal fry (VF), a low-pitched, grating voice quality, appears to be trending among young women. Current research lacks consensus of listeners' perceptions associated with VF. This study investigated practicing speech-language pathologists' (SLPs) perceptions of graduate speech-language pathology students who speak with VF. Method: Thirty-two graduate students were recorded reading the Rainbow Passage and providing a brief monologue. VF was detected perceptually and acoustically for all 32 students' recordings. For the 127-syllable passage, percent of VF (%VF) ranged from 2.36% (three

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Singer, Julie. "Fetal Personhood and Voice in Medieval French Literature." PMLA/Publications of the Modern Language Association of America 136, no. 5 (2021): 696–710. http://dx.doi.org/10.1632/s0030812921000419.

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AbstractThis essay examines medieval French literary representations of fetal speech and proposes a new understanding of medieval conceptions of personhood. Placing passages from the Roman de Fauvel, Histoire de Marie et de Jésus, Pelerinage de Jhesucrist, and Tristan de Nanteuil in conversation with elements of thirteenth-century theological, encyclopedic, and scientific discourses, as well as with contemporary sound studies and theories of the voice, this essay shows that emergent human personhood is constructed in medieval texts as an audible social phenomenon. Medieval personhood is a noti

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28

Perry, Jeffrey. "Paganini's Quest: The Twenty-four Capricci per violino solo, Op. 1." 19th-Century Music 27, no. 3 (2004): 208–29. http://dx.doi.org/10.1525/ncm.2004.27.3.208.

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Nicolo Paganini (1782-1840) has long been viewed as an emblem of virtuosity, his music heard, if at all, through the variations and adaptations of other composers. This historical neglect and the Paganini mythos notwithstanding, the twenty-four Caprices, op. 1, published in 1820, establish his place as a serious composer whose innovations must be considered in any assessment of early Romanticism. In the Caprices, two voices seem to speak. The first is lyrical and draws on the vocal and operatic roots of PaganiniÕs musical upbringing. The second I have labeled the questive voice. Romanticism is

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29

Grier, James. "The Reinstatement of Polyphony in Musical Construction: Fugal Finales in Haydn's Op. 20 String Quartets." Journal of Musicology 27, no. 1 (2010): 55–83. http://dx.doi.org/10.1525/jm.2010.27.1.55.

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The title, borrowed from Paul Henry Lang's description of Haydn's op. 20 string quartets in Music in Western Civilization, characterizes Haydn's endeavor to create more independent partwriting in the string quartet. First, Haydn's fugal practice is noteworthy particularly for the construction of the fugal exposition and his treatment of multiple subjects, the question of what constitutes a regular countersubject, and the treatment of redundant entries. Second, the chief strategy in these movements is the invention of invertible counterpoint in three voices. Haydn writes a double fugue (with a

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Trautner-Kromann, Hanne. "Jewish polemics against Christianity and the Christians in Northern and Southern France from 1100 to 1300." Nordisk Judaistik/Scandinavian Jewish Studies 7, no. 2 (1986): 71–83. http://dx.doi.org/10.30752/nj.69407.

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Jewish polemics against Christianity in the Middle Ages show a striking change in contents and in the linguistic form of the texts after the First Crusade. While the texts up to about 1100 are reports on religious discussions between Jews and Christians, often held in a friendly tone, the texts after 1100 contain aggressive or bitter attacks on the Christians. An example of how this was put into words appears in a Jewish text from the 1250s. In seven points the author gives voice to this protest against the introduction by the French king of a number of harsh edicts against the Jews. There is

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Williams, Tyler M. "Outside and Outside: Plastic Passages—of Philosophy and Literature." philoSOPHIA 13, no. 1 (2023): 99–123. http://dx.doi.org/10.1353/phi.2023.a919599.

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Abstract: In Subjects That Matter , Namita Goswami attends to philosophy’s institutional and disciplinary failures to reconcile its identitarian claims to universality and reason with the feminist and postcolonial modes of thinking it traditionally keeps at bay. This essay places Goswami’s critique within a context of “the thought from outside,” which, beginning with Foucault’s reading of Blanchot, continuing through the geopolitics of Dussel’s philosophy of liberation, and prominent in Catherine Malabou’s conceptualization of plasticity, demonstrates how political critiques of philosophical h

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Mercer-Taylor, Peter. "Listening for the “Still Small Voice” of Mendelssohn’s Domestic Elijah." Journal of Musicology 32, no. 1 (2015): 40–77. http://dx.doi.org/10.1525/jm.2015.32.1.40.

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The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity o

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Amelang, David J. "“A Broken Voice”: Iconic Distress in Shakespeare’s Tragedies." Anglia 137, no. 1 (2019): 33–52. http://dx.doi.org/10.1515/ang-2019-0003.

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Abstract This article explores the change in dynamics between matter and style in Shakespeare’s way of depicting distress on the early modern stage. During his early years as a dramatist, Shakespeare wrote plays filled with violence and death, but language did not lose its composure at the sight of blood and destruction; it kept on marching to the beat of the iambic drum. As his career progressed, however, the language of characters undergoing an overwhelming experience appears to become more permeable to their emotions, and in many cases sentiment takes over and interferes with the character’

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Calcagno, Mauro. "Signifying Nothing: On the Aesthetics of Pure Voice in Early Venetian Opera." Journal of Musicology 20, no. 4 (2003): 461–97. http://dx.doi.org/10.1525/jm.2003.20.4.461.

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Operas written in Venice in the 1640s feature surprisingly long melismas often setting seemingly insignificant words, in opposition to (although concurrently with) traditional madrigalisms. This magnification of pure voice over word meaning is consistent with the aesthetics presented by members of the Venetian Accademia degli Incogniti, known for its pro-opera stance. In previously unexplored works the academicians advocate the controversial concept of Nothing as an all-embracing phenomenon. This includes language, in which the Incogniti emphasize sound as independent from meaning-a claim with

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Hübner, Wolfgang. "Sonus triplex: von Varros Triaden zur Trinität." Vigiliae Christianae 70, no. 5 (2016): 509–34. http://dx.doi.org/10.1163/15700720-12341278.

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Since his early days Augustine was acquainted with the Varronian triplicity of sound (vocalis, semivocalis—mutus). He employed it even in his Enarrationes in psalmos when explaining the musical instruments mentioned in the Psalter. After having explored the allegorical meaning of the instruments mentioned in particular biblical passages—including the human voice—he interprets their symphony in the final Psalm 150, relating the Varronian triad uoce—spiritu—pulsu to the anthropological triplicity mens—spiritus—corpus as well as to the theological Trinity.

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Maryati, Selvi, Safnil Arsyad, and Syafryadin Syafryadin. "Linguistics Features of Reading Passage in English Text Book K-13 Revised Edition for Senior High School Students in Indonesia: Analysis of Basic Text Properties." Edu-Ling: Journal of English Education and Linguistics 5, no. 1 (2021): 17. http://dx.doi.org/10.32663/edu-ling.v5i1.2022.

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The objectives of this research are to identify the linguistic features contained in K 13 English textbook revised edition of grades X, XI, and XII published by the Ministry of Education and Culture of the Republic of Indonesia in terms of sentence pattern, types of tenses, voice, and aspect. This research is descriptive quantitative research. The sample of this research is thirty-nine reading passages were extracted from K13 English textbook revised edition published by the Indonesian Ministry of Education and Culture for senior high school students in Indonesia. All reading passages are take

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Chatterjee, Indranil, Shubhangi Shree Bhatt, Kavita Kumari, Divya Raj, and Vidushi Saxena. "Influence of Khasi Language on Nasal and Oral Passages in English: A Nasometric Study." Bengal Journal of Otolaryngology and Head Neck Surgery 28, no. 1 (2020): 17–22. http://dx.doi.org/10.47210/bjohns.2020.v28i1.22.

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Introduction Speech is a overlaid function of respiratory, phonatory, resonatory, articulatory systems . Nasalance can be defined as the relative amounts of oral and nasal acoustic energy in speech done by modification of oral and nasal cativities that is complex activity of the resonator system. Nasometer was developed by Samuel Fletcher, Larry Adams, and Martin McCutcheon at the University is a computer based instrument facilitating accurate analysis of signal yielding nasalance scores. There is no report regarding nasalence score variance in khasi language speakers speaking English.&#

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Taylor, Sammi, Christopher Dromey, Shawn L. Nissen, Kristine Tanner, Dennis Eggett, and Kim Corbin-Lewis. "Age-Related Changes in Speech and Voice: Spectral and Cepstral Measures." Journal of Speech, Language, and Hearing Research 63, no. 3 (2020): 647–60. http://dx.doi.org/10.1044/2019_jslhr-19-00028.

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Purpose This study examined differences in selected acoustic measures of speech and voice according to age and sex and across families. Method Participants included 169 individuals, 79 men and 90 women, from 18 families, ranging in age from 17 to 87 years. Participants reported no history of articulation disorders, stroke or active neurologic disease, or severe-to-profound hearing loss. They read aloud two passages to facilitate examination of the following speech and voice acoustic parameters: fricative spectral moments (center of gravity, standard deviation, skewness, and kurtosis), the prop

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Sanborn, Geoffrey. "The Pleasure of Its Company: Of One Blood and the Potentials of Plagiarism." American Literary History 32, no. 1 (2019): e1-e22. http://dx.doi.org/10.1093/alh/ajz054.

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Abstract In this essay, Sanborn extends his earlier work on Pauline Hopkins’s plagiarism by showing that Hopkins plagiarized a total of 143 passages from 36 texts in her novel Of One Blood and that at least 10,492 of the roughly 52,730 words in the novel—20%—were imported from other people’s publications. Sanborn argues that plagiarism is, for Hopkins, not a canny subversion or artful transmutation of another writer’s work; it is a means by which she can hold her text internally open to other voices and temporalities. It does not point us backward to a critique of the texts from which she drew

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Sanz Jiménez, Miguel. "Linguistic Varieties in Homegoing: Translating the Other’s Voice into Spanish." Revista Alicantina de Estudios Ingleses, no. 36 (January 31, 2022): 149. http://dx.doi.org/10.14198/raei.2022.36.08.

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The objective of this paper is to study the Spanish translation of Yaa Gyasi’s Homegoing (2016), a novel that adopts the form of a neo-slave narrative to chronicle a black family’s history from eighteenth-century Ghana to the early twenty-first century in the United States. The contexts in which both the source and target text were published will be described, paying attention to paratexts, to the book’s reception, and to the translation’s positive reviews. Gyasi’s debut oeuvre depicts alterity and the non-standard linguistic varieties, such as Black English, spoken by the dispossessed Other.

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Zughayyar, Assist Prof Dr Hadi Sdech. "Ahmed thyme poem by the poet Mahmoud Darwish - Deliberative study -." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (2018): 13–60. http://dx.doi.org/10.36473/ujhss.v221i1.423.

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This research contains a study of the poem Ahmad thyme poet Mahmoud Darwish in accordance with the curriculum deliberative, focused research on important aspects of this poem, one of the tricked hair Palestinian resistance; has adopted two votes, the voice of the poet, and the voice of the hero martyr (Ahmed), which was granted Guerilla recipes poet who carried the worries and concerns of his people, Fany of alienation and asylum as his people suffered, and it was the ultimate form of the Palestinian fighters. And be this research brief introduction to the concept of deliberative and the

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Gribble, David. "Narrator Interventions in Thucydides." Journal of Hellenic Studies 118 (November 1998): 41–67. http://dx.doi.org/10.2307/632230.

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The main narrative of Thucydides is characterised by a third person ‘objective’ style where signs of the narrator are concealed. But this predominant narrative mode is punctuated by passages (2. 65, 6. 15, etc.) where the narrator interrupts the main account, referring to himself in the first person and/or to time outside that of the main narrative. These rare intrusions of the voice of the narrator-historian—‘narrator interventions’—are the most quoted and discussed in the whole History. Reaction to them has been of two sorts. They have either been seen as later additions and used as the cent

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Beal, Lissa M. Wray. "Mourning Women, the Voice of God, and the Limits of Lament: Women’s Songs of Lament in Jeremiah." Bulletin for Biblical Research 33, no. 4 (2023): 489–505. http://dx.doi.org/10.5325/bullbiblrese.33.4.0489.

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Abstract The book of Jeremiah contains metaphors depicting Israel and Zion as a woman. These include the city as a mourning woman (4:19–21; 10:20). Real mourning women are addressed in Jer 9:17–22, following laments variously attributed to Jeremiah and/or Yahweh (8:18–9:2, 10). Working with the (MT) canonical form and engaging the insights of trauma studies, this article traces linguistic and thematic connections between the two passages before tracing similar connections to Rachel’s lament (Jer 31). The mourning women in Jer 9 serve a societal role by giving voice to lament; this effective po

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Tahiri, Lindita. "Lost in Translation: Narrative Perspective Silenced by the Voice of the Translator." Respectus Philologicus, no. 38(43) (October 19, 2020): 202–13. http://dx.doi.org/10.15388/respectus.2020.38.43.68.

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This study compares passages from four novels by the renowned Albanian author Ismail Kadare with their English translations: Prilli i thyer (Broken April, 1990 [1980]), Kronika në gur (Chronicle in Stone, 2007 [1971]), Vajza e Agamemnonit (The Daughter of Agamemnon, 2006 [2003]) and Pallati i ëndrrave (The Palace of Dreams, 2011 [1999]). It uses the linguistic analysis of style in the source and the target languages aiming to identify the modification of narrative perspectives during the translation process. The stylistic comparison of the original with translated versions demonstrates the shi

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Holliday, Nicole R., and Paul E. Reed. "Gender and racial bias issues in a commercial “tone of voice” analysis system." PLOS ONE 20, no. 2 (2025): e0314470. https://doi.org/10.1371/journal.pone.0314470.

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Social Feedback Speech Technologies (SFST) are programs and devices, often “AI”-powered, that claim to provide users with feedback about how their speech sounds to other humans. To date, academic research has not focused on how such systems perform for a variety of speakers. In 2020, Amazon released a wearable called Halo, touting its fitness and sleep tracking, as well as its ability to evaluate the wearer’s voice to help them “understand how they sound to others”. The band presents its wearer with ‘Positivity’ and ‘Energy’ scores, as well as qualitative evaluations of the voice: adjectives s

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Hill, Peter. "Aspects of Zsolt Durkó's Piano Concerto." Tempo, no. 169 (June 1989): 47–49. http://dx.doi.org/10.1017/s004029820002516x.

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Durkó is no pianist, but you would never know from the way he writes for the piano, with a meticulous feeling for what makes the instrument musical. This much was evident from a glance at the score of his Concerto when it arrived (‘on approval’, as they say) on my piano last summer. So, too, was the depth of character and nuance in those passages simple enough for me to read at sight - one especially seductive example being a little two-part invention for the soloist, pedantic and wistful, to which a third voice (scored, of all things, for timpani) lends an air of oafish charm.

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Crawford, Matthew R. "Reading the Diatessaron with Ephrem: The Word and the Light, the Voice and the Star." Vigiliae Christianae 69, no. 1 (2015): 70–95. http://dx.doi.org/10.1163/15700720-12341191.

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Through a consideration of the reception history of the so-called “Diatessaron,” Tatian’s second-century gospel compilation, we can learn much about the nature of this peculiar text. Of paramount importance here is the Syriac Commentary on the Gospel attributed to Ephrem of Nisibis. In this article I argue that the ordering of pericopae in the opening section of Tatian’s gospel, which interweaves Matthean and Lukan passages within a broadly Johannine incluisio, prompts the Syriac exegete to an unexpected interpretation of these narratives. By reading these pericopae as a single, continuous nar

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Neufeld, Gerald G. "Non-Foreign-Accented Speech in Adult Second Language Learners." ITL - International Journal of Applied Linguistics 133-134 (January 1, 2001): 185–206. http://dx.doi.org/10.1075/itl.133-134.01neu.

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Abstract The findings of this study add to the growing number of reports in which investigators claim to have located adult second language learners who, under rigorous test conditions, manage to pass as native speakers in L2. The aims of this paper were two, first, to provide a detailed account of how we tested and qualified our Anglophones as native-like speakers of French and, second, to suggest that, interesting as our data were, more questions emerge than do answers. Seven of 18 English/French bilinguals, having acquired L2 after the age of 16, were selected by means of a pre-test intervi

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Pan, Na. "The Choral Art in the Opera Carmen: Analysis of Emotions with Affinity to the People and Exploration of Expressive Tension." Arts Studies and Criticism 5, no. 4 (2024): 173. http://dx.doi.org/10.32629/asc.v5i4.2667.

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Choral performance is one of the essential forms of expression in opera, using multi-voice polyphonic styles to lay the groundwork for the plot and enhance the emotional and dramatic expression. In the opera Carmen, Georges Bizet frequently employs choral passages to bridge scenes, integrating choral performances with the movements of actors on stage in a rare form of presentation. This fusion of choral art and character development vividly portrays the lifestyle of 19th-century society, endowing the opera with a strong character of emotions with affinity to the people and greater dramatic exp

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Krynicka, Tatiana. "Encyclopaedia of Isidore of Seville as polyphony (based on Etymologiae, I–III)." Acta Iuris Stetinensis 49 (2024): 57–75. http://dx.doi.org/10.18276/ais.2024.49-04.

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The life of Isidore hid under the shadow of his writing. Generations of Europeans learned about the world from its most famous work – Etymologiae. The author of this impressive compilation was a bishop dedicated to God’s people, advisor to Visigoth rulers, propagator of monastic life, ardent preacher, benefactor of the poor, leader of synod sessions. He was neither a scholar, nor a traveller, not a lawyer, a farmer or a doctor. His knowledge of the world was literary. Etymologiae was a kind of a cento, whose building blocks were breves tabellae (passages from works of other writers). In effect

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