Voice Signal Processing"
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The Challenge of Oral Epic to Homeric Scholarship
humanities Article The Challenge of Oral Epic to Homeric Scholarship Minna Skafte Jensen The Saxo Institute, Copenhagen University, Karen Blixens Plads 8, DK-2300 Copenhagen S, Denmark; [email protected] or [email protected] Received: 16 November 2017; Accepted: 5 December 2017; Published: 9 December 2017 Abstract: The epic is an intriguing genre, claiming its place in both oral and written systems. Ever since the beginning of folklore studies epic has been in the centre of interest, and monumental attempts at describing its characteristics have been made, in which oral literature was understood mainly as a primitive stage leading up to written literature. With the appearance in 1960 of A. B. Lord’s The Singer of Tales and the introduction of the oral-formulaic theory, the paradigm changed towards considering oral literature a special form of verbal art with its own rules. Fieldworkers have been eagerly studying oral epics all over the world. The growth of material caused that the problems of defining the genre also grew. However, after more than half a century of intensive implementation of the theory an internationally valid sociological model of oral epic is by now established and must be respected in cognate fields such as Homeric scholarship. Here the theory is both a help for readers to guard themselves against anachronistic interpretations and a necessary tool for constructing a social-historic context for the Iliad and the Odyssey. As an example, the hypothesis of a gradual crystallization of these two epics is discussed and rejected. Keywords: epic; genre discussion; oral-formulaic theory; fieldwork; comparative models; Homer 1. -
A Vocoder (Short for Voice Encoder) Is a Synthesis System, Which Was
The Vocoder Thomas Carney 311107435 Digital Audio Systems, DESC9115, Semester 1 2012 Graduate Program in Audio and Acoustics Faculty of Architecture, Design and Planning, The University of Sydney A vocoder (short for voice encoder) is Dudley's breakthrough device a synthesis system, which was initially analysed wideband speech, developed to reproduce human converted it into slowly varying control speech. Vocoding is the cross signals, sent those over a low-band synthesis of a musical instrument with phone line, and finally transformed voice. It was called the vocoder those signals back into the original because it involved encoding the speech, or at least a close voice (speech analysis) and then approximation of it. The vocoder was reconstructing the voice in also useful in the study of human accordance with a code written to speech, as a laboratory tool. replicate the speech (speech synthesis). A key to this process was the development of a parallel band pass A Brief History filter, which allowed sounds to be The vocoder was initially conceived filtered down to a fairly specific and developed as a communication portion of the audio spectrum by tool in the 1930s as a means of attenuating the sounds that fall above coding speech for delivery over or below a certain band. By telephone wires. Homer Dudley 1 is separating the signal into many recognised as one of the father’s of bands, it could be transmitted easier the vocoder for his work over forty and allowed for a more accurate years for Bell Laboratories’ in speech resynthesis. and telecommunications coding. The vocoder was built in an attempt to It wasn’t until the late 1960s 2 and save early telephone circuit early 1970s that the vocoder was bandwidth. -
Oral Tradition
_____________________________________________________________ Volume 6 January 1991 Number 1 _____________________________________________________________ Editor Editorial Assistants John Miles Foley Sarah J. Feeny David Henderson Managing Editor Whitney Strait Lee Edgar Tyler J. Chris Womack Book Review Editor Adam Brooke Davis Slavica Publishers, Inc. Slavica Publishers, Inc. For a complete catalog of books from Slavica, with prices and ordering information, write to: Slavica Publishers, Inc. P.O. Box 14388 Columbus, Ohio 43214 ISSN: 0883-5365 Each contribution copyright (c) 1991 by its author. All rights reserved. The editor and the publisher assume no responsibility for statements of fact or opinion by the authors. Oral Tradition seeks to provide a comparative and interdisciplinary focus for studies in oral literature and related fields by publishing research and scholarship on the creation, transmission, and interpretation of all forms of oral traditional expression. As well as essays treating certifiably oral traditions, OT presents investigations of the relationships between oral and written traditions, as well as brief accounts of important fieldwork, a Symposium section (in which scholars may reply at some length to prior essays), review articles, occasional transcriptions and translations of oral texts, a digest of work in progress, and a regular column for notices of conferences and other matters of interest. In addition, occasional issues will include an ongoing annotated bibliography of relevant research and the annual Albert Lord and Milman Parry Lectures on Oral Tradition. OT welcomes contributions on all oral literatures, on all literatures directly influenced by oral traditions, and on non-literary oral traditions. Submissions must follow the list-of reference format (style sheet available on request) and must be accompanied by a stamped, self-addressed envelope for return or for mailing of proofs; all quotations of primary materials must be made in the original language(s) with following English translations. -
Annotated Bibliography of Works by John Miles Foley
This article belongs to a special issue of Oral Tradition published in honor of John Miles Foley’s 65th birthday and 2011 retirement. The surprise Festschrift, guest-edited by Lori and Scott Garner entirely without his knowledge, celebrates John’s tremendous impact on studies in oral tradition through a series of essays contributed by his students from the University of Missouri- Columbia (1979-present) and from NEH Summer Seminars that he has directed (1987-1996). http://journal.oraltradition.org/issues/26ii This page is intentionally left blank. Oral Tradition, 26/2 (2011): 677-724 Annotated Bibliography of Works by John Miles Foley Compiled by R. Scott Garner In 1985 John Miles Foley authored as his first book-length work Oral-Formulaic Theory and Research: An Introduction and Annotated Bibliography. This volume, which provided an introduction to the field of study and over 1800 annotated entries, was later supplemented by updates published in Oral Tradition (and compiled by John himself, Lee Edgar Tyler, Juris Dilevko, and Catherine S. Quick [with the assistance of Patrick Gonder, Sarah Feeny, Amerina Engel, Sheril Hook, and Rosalinda Villalobos Lopez]) that served both to summarize and to provide reflection upon new developments in an area of scholarship that eventually became too vast and broadly evolved to be contained by any single bibliographic venture. Given that John’s own work was instrumental in effecting this sustained development—while also having importance in so many other areas of study as well—it seems only fitting to close the current volume with an annotated bibliography of John’s works up through the current point in time. -
Oral Tradition
_____________________________________________________________ Volume 1 October 1986 Number 3 _____________________________________________________________ Editor Editorial Assistants John Miles Foley Lee Edgar Tyler Juris Dilevko Patrick Gonder Nancy Hadfield Slavica Publishers, Inc. For a complete catalog of books from Slavica, with prices and ordering information, write to: Slavica Publishers, Inc. P.O. Box 14388 Columbus, Ohio 43214 ISSN: 0883-5365 Each contribution copyright (c) 1986 by its author. All rights reserved. The editor and the publisher assume no responsibility for statements of fact or opinion by the authors. Oral Tradition seeks to provide a comparative and interdisciplinary focus for studies in oral literature and related fields by publishing research and scholarship on the creation, transmission, and interpretation of all forms of oral traditional expression. As well as essays treating certifiably oral traditions, OT presents investigations of the relationships between oral and written traditions, as well as brief accounts of important fieldwork, a Symposium section (in which scholars may reply at some length to prior essays), review articles, occasional transcriptions and translations of oral texts, a digest of work in progress, and a regular column for notices of conferences and other matters of interest. In addition, occasional issues will include an ongoing annotated bibliography of relevant research and the annual Albert Lord and Milman Parry Lectures on Oral Tradition. OT welcomes contributions on all oral literatures, on all literatures directly influenced by oral traditions, and on non-literary oral traditions. Submissions must follow the list-of reference format (style sheet available on request) and must be accompanied by a stamped, self-addressed envelope for return or for mailing of proofs; all quotations of primary materials must be made in the original language(s) with following English translations. -
“It Talks!” a Very Brief History of Voice Synthesis
“It Talks!” a very brief history of voice synthesis Mark Schubin, HPA Tech Retreat, 2018 February 23 1 “human voice” one of the oldest organ stops Mark Schubin, HPA Tech Retreat, 2018 February 23 2 When? We don’t know, but organ-like instrument 3rd-century BCE programmable automatic instruments in 9th-century Baghdad reconstruction of automated reed instrument hydraulis, 1st-century BCE Dion, Greece photo: QuartierLatin1968 Mark Schubin, HPA Tech Retreat, 2018 February 23 3 The Captain’s Parrot & the Magician “Captain Birdseye” Mark Schubin, HPA Tech Retreat, 2018 February 23 4 Pope Sylvester II (999-1003) said to have had a “brazen head” that could answer questions yes or no Mark Schubin, HPA Tech Retreat, 2018 February 23 5 Alexander Graham Bell (& Trouve) “How are you grandmamma? Mark Schubin, HPA Tech Retreat, 2018 February 23 6 Mark Schubin, HPA Tech Retreat, 2018 February 23 7 Mark Schubin, HPA Tech Retreat, 2018 February 23 8 18th & 19th Centuries part of Charles Wheatstone’s version of Wolfgang von Kempelen’s talking machine Mark Schubin, HPA Tech Retreat, 2018 February 23 9 Joseph Faber’s Euphonia Mark Schubin, HPA Tech Retreat, 2018 February 23 10 Electronics: Initially Not for Synthesis “vocoder” 1940 Homer Dudley, "The Carrier Nature of Speech" version Bell System Technical Journal, October 1940 images courtesy of Bell Labs Archive Mark Schubin, HPA Tech Retreat, 2018 February 23 11 But There Were World’s Fairs in 1939 “vocoder” “voder” Homer Dudley, "The Carrier Nature of Speech" Bell System Technical Journal, October -
Article on Milman Parry's Research
1 HOMER AND ORAL POETRY BY SPECIAL THANKS TO: THE YALE CLASSICS DEPARTMENT SARAH PRICE THE YALE ART GALLERY JOHN MATTHEWS Who was Homer? When did he live? Was there VICTOR BERS even a Homer? If so, did he write both the Iliad and the KAY CLAIBORN Odyssey? Although the Homeric Question has intrigued JOCK REYNOLDS scholars for millennia, many uncertainties remain about CHARLENE SENICAL the true authorship of the epics. In the past century, inquiry has focused on the role of oral composition in the creation of the Homeric texts. Theories of oral poetry composition were created through the observation of modern oral bards in pre-literate societies and applied to the Iliad and the Odyssey. The recent discovery of the prominent role of the oral tradi- tion in the Homeric texts does not, however, eliminate the role played by Homer; his inventiveness is a major part of what makes the epics shine. In the 1930s, Milman Parry (1902-1935) and Albert Lord (1912- 2001) first proposed the theory that the Homeric epics were composed orally. After studying the Iliad and A Yugoslavian Oral Poet the Odyssey, Parry was convinced The Milman Parry Collection that Homer’s poems were both traditional tales and cre- ative compositions, despite the apparent contradiction. But how could Homer have both inherited the songs and 1 2 HOMER AND ORAL POETRY written them himself? Parry answered the question, ap- plying what today is known as oral theory to the Homeric texts to explain epithets and parallelism. Many of the words in this debate have slightly un- usual connotations. -
Milman Parry and AL Kroeber: Americanist Anthropology and The
Oral Tradition, 16/1 (2001): 58-84 Milman Parry and A. L. Kroeber: Americanist Anthropology and the Oral Homer John F. García The view of Homer which . was to render earlier scholarship obsolete . was apparently arrived at by the reaction of an unusual mind to the text of Homer: nothing in Parry’s background (middle-class, not particularly intellectual, Welsh Quaker origins), nor in the place where he was born and lived until he went to France in 1923 . makes that reaction likely. Parry’s teachers in Greek at the University of California included two of the finest Hellenists of their generation, George Calhoun (1888-1942) and Ivan Linforth (b. 1879). Both men knew Homer well and had a sensitive understanding of his poetry. But they were not the source of any of Parry’s specific ideas. His work was as much a surprise to them as to the rest of the world. The mind that presented Homer to the world as the singer of traditional poetry was itself the product of no traditions. A. Parry 1971:xxii-xxiii Introduction Milman Parry’s mythic reputation derives from the brilliance of his scholarship, the suaveness of his rhetoric, a mysterious and untimely death, and above all his standing as a revered ancestor of American Homeric scholarship in the predominant form it now takes. Adam Parry’s words enhance the sense of something unaccountable, even miraculous, in his father’s genius; yet we can read them today, if we want to take the study of intellectual history seriously, only with a skeptical eye. -
Cultural Analysis Reviews 85 REVIEWS the Singer of Tales. By
Cultural Analysis Reviews REVIEWS The Singer of Tales. By Albert B. Lord. Harvard Studies in Comparative Literature, vol. 24. 2nd ed. (Cambridge, Mass: Harvard University Press, 2000. Pp. xxxvii + 307, CD including audio and video recordings, intro- duction by Stephen Mitchell and Gregory Nagy) In 1949 Albert Bates Lord defended a dissertation entitled “The Singer of Tales” before the Department of Comparative Literature at Harvard University. The title came from the few surviving pages of a study planned by his mentor Milman Parry before the latter’s untimely death in 1935, but the result was a significant extension of that blueprint. Although it would still be eleven years before the thesis saw print in 1960, it sparked the introduction of the so-called “Oral Theory” of Parry and steered Lord to Old English poetry via a 1953 article entitled “The Oral-Formulaic Character of Anglo-Saxon Narrative Poetry” authored by one of Lord’s dissertation advisors, Francis P. Magoun, Jr. This is but one example (as far as I know the earliest) of the prodigious influ- ence exerted on world literature studies by The Singer of Tales, which by any measure must be recognized as one of the twentieth century’s most enduring works of research and scholarship in the humanities. The initiative began with Parry’s groundbreaking analyses of the texts of Homer’s Iliad and Odyssey, and with his deduction that their repetitive, formulaic phraseology was symptomatic of their traditional heritage and their transmission by a long series of bards over many centuries. His hypothesis of traditional heritage soon evolved into a double hypothesis of tradition linked with oral performance, as Parry began to re-create what he believed to be not just the character but the actual presentational me- dium of the Iliad and Odyssey. -
1 Curriculum Vitae Gregory Nagy Home Address: 1) 3100 Whitehaven
Curriculum Vitae Gregory Nagy home address: 1) 3100 Whitehaven St., Washington, DC 20008 2) 84 Revere St., Boston MA 02114 office telephone/voicemail: 1) 202.745.4446 2) 617.495.1941 e-mail: [email protected] website: http://chs.harvard.edu/ Biographical information: born October 22, 1942, Budapest, Hungary citizen of both US and EU (US passport and Hungarian passport) Education: Ph.D. Harvard University 1966 (Classical Philology) A.B. Indiana University 1962 (Classics and linguistics) Positions held: Since 1984 Francis Jones Professor of Classical Greek Literature and Professor of Comparative Literature, Harvard University Since 1986 Member, Boston Library Society Since 1987 Fellow of the American Academy of Arts and Sciences Since 1999 Curator, Milman Parry Collection of Oral Literature (with Stephen Mitchell; Acting Curator 1997-1999) Since 1999 Senior Fellow, Harvard Society of Fellows (Acting Senior Fellow 1998-1999) Since 2000 Director, Harvard Center for Hellenic Studies 1 Other positions held: 1994-00 Chair, Classics Department 1991-92 Acting Chair, Classics Department 1991-97 Associate Curator, Milman Parry Collection of Oral Literature 1990-91 Acting Chair, Department of Celtic Languages and Literatures 1990-91 Walter Channing Cabot Fellow in the Faculty of Arts and Sciences, Harvard University 1989-94 Chair, Committee on Degrees in Literature 1986-87 Acting Chair, Department of Celtic Languages and Literatures 1986-91 Master of Currier House, Harvard College 1980-87 Chair, Committee on Degrees in Folklore and Mythology 1975-84 -
EDITING and Translating TRADITIONAL ORAL EPIC: the SOUTH Slavic SONGS and HOMER
CHAPTER ONE EDITING AND TRANSlATING TRADITIONAL ORAL EPIC: THE SOUTH SlAVIC SONGS AND HOMER JOHN MILES FOLEY In the mid-1930s Milman Parry journeyed to the former Yugoslavia to test his hypothesis that Homer was a traditional oral poet, and that the Iliad and Odyssey that have reached us bear the unmistak- able signs of an oral traditional heritage. Together with Albert Lord and their native assistant Nikola Vujnovic, he recorded hundreds of epic narratives from South Slavic guslari, or oral poets, and samples of these performances from the regions of Novi Pazar and Bijelo Polje have been transcribed, edited, and translated in the series Serbo Groatian Heroic Songs. It is chiefly on this evidence-most of which remains unpublished in the Milman Parry Collection of Oral Liter- ature at Harvard University-that Lord based his epochal book, The Singer if Tales, and from which the comparative field of studies in oral tradition has since taken root. To say that the South Slavic oral epic tradition was instrumental in rediscovering ancient Greek oral- ity is thus a vast understatement; from a historical perspective the guslar's performances were from the beginning a sine qua non.' This chapter is intended as a prospectus on a long-term project, a map that charts a pathway toward its eventual goal: providing usable original-language editions and English-language translations I On the history of the Oral-Formulaic Theory, see j.M. Foley, 1he 1heory if Oral Composition: History and Methodology (Bloomington, 1988, repr. 1992); for bibli- ography, j.M. Foley, Oral-Fonnulaic 1heory and Research: An Introduction and Annotated Bibliography (New York, 1988), with updates in Oral Tradition I (1986), 767-808, 3 (1988), 191-228, and 12 (1997), 366-484--also available online at the following URL: http://www.oraltradition.org. -
First Presented at the SMPTE 2014 Annual Technical Conference in Hollywood, CA, Oct
First presented at the SMPTE 2014 Annual Technical Conference in Hollywood, CA, Oct. 20-24, 2014. © SMPTE 2014 FOR YOUR EYES ONLY! SMPTE Meeting Presentation The Origins of Audio and Video Compression: Some Pale Gleams from the Past Jon D. Paul, MSEE Scientific Conversion, Inc., Crypto-Museum, California, USA, [email protected] Written for presentation at the SMPTE 2014 Annual Technical Conference & Exhibition Abstract. The paper explores the history that led to all audio and video compression. The roots of digital compression sprang from Dudley's speech VOCODER, and a secret WWII speech scrambler. The paper highlights these key inventions, details their hardware, describes how they functioned, and connects them to modern digital audio and digital video compression algorithms. The first working speech synthesizer was Homer Dudley's VOCODER. In 1928, he used analysis of speech into components and a bandpass filter bank to achieve 10 times speech compression ratio. In 1942, Bell Telephone Laboratories' SIGSALY was the first unbreakable speech scrambler. Dudley with Bell Laboratories invented 11 fundamental techniques that are the foundation of all digital compression today. The paper concludes with block diagrams of audio and video compression algorithms to show their close relationship to the VOCODER and SIGSALY. Keywords. audio compression, speech compression, video compression, spread spectrum, coded orthogonal frequency-division multiplexing, COFDM, mobile phone compression, speech synthesis, speech encryption, speech scrambler, MP3, CELP, MPEG-1, AC-3, H.264, MPEG-4, SIGSALY, VOCODER, VODER, National Security Agency, NSA, Homer Dudley, Hedy Lamarr. The authors are solely responsible for the content of this technical presentation. The technical presentation does not necessarily reflect the official position of the Society of Motion Picture and Television Engineers (SMPTE), and its printing and distribution does not constitute an endorsement of views which may be expressed.