THE EFFECT of VOCAL FRY on SPEECH INTELLIGIBILITY By
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Proceedings of the 38Th Annual Meeting of the Berkeley Linguistics Society (2014), Pp
UC Berkeley Proceedings of the Annual Meeting of the Berkeley Linguistics Society Title The Articulatory Function of the Larynx and the Origins of Speech Permalink https://escholarship.org/uc/item/7qx7x2dt Journal Proceedings of the Annual Meeting of the Berkeley Linguistics Society, 38(38) ISSN 2377-1666 Author Esling, John H Publication Date 2014 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Articulatory Function of the Larynx and the Origins of Speech Author(s): John H. Esling Proceedings of the 38th Annual Meeting of the Berkeley Linguistics Society (2014), pp. 121-150 General Session and Thematic Session on Language Contact Editors: Kayla Carpenter, Oana David, Florian Lionnet, Christine Sheil, Tammy Stark, Vivian Wauters Please contact BLS regarding any further use of this work. BLS retains copyright for both print and screen forms of the publication. BLS may be contacted via http://linguistics.berkeley.edu/bls/ . The Annual Proceedings of the Berkeley Linguistics Society is published online via eLanguage , the Linguistic Society of America's digital publishing platform. The Articulatory Function of the Larynx and the Origins of Speech JOHN H. ESLING University of Victoria Introduction The ‘laryngeal articulator,’ consisting of the glottal mechanism, the supraglottic tube, the pharyngeal/epiglottal mechanism, and including three levels of folds: the vocal folds, the ventricular folds, and the aryepiglottic folds, is shown to be responsible for the generation of multiple source vibrations and for the complex modification of the pharyngeal resonating chamber that accounts for a wide range of contrastive auditory qualities. These qualities are observed in a surprisingly large number of the languages of the world, both linguistically and paralinguistically, and they account for sounds which have been labeled as ‘pharyngeal,’ as ‘epiglottal,’ and as various phonation types. -
The New Dictionary of Music and Musicians
The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo ries and polyphonic music. IV. Modal scales and folk song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes. -
Phonological Use of the Larynx: a Tutorial Jacqueline Vaissière
Phonological use of the larynx: a tutorial Jacqueline Vaissière To cite this version: Jacqueline Vaissière. Phonological use of the larynx: a tutorial. Larynx 97, 1994, Marseille, France. pp.115-126. halshs-00703584 HAL Id: halshs-00703584 https://halshs.archives-ouvertes.fr/halshs-00703584 Submitted on 3 Jun 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Vaissière, J., (1997), "Phonological use of the larynx: a tutorial", Larynx 97, Marseille, 115-126. PHONOLOGICAL USE OF THE LARYNX J. Vaissière UPRESA-CNRS 1027, Institut de Phonétique, Paris, France larynx used as a carrier of paralinguistic information . RÉSUMÉ THE PRIMARY FUNCTION OF THE LARYNX Cette communication concerne le rôle du IS PROTECTIVE larynx dans l'acte de communication. Toutes As stated by Sapir, 1923, les langues du monde utilisent des physiologically, "speech is an overlaid configurations caractéristiques du larynx, aux function, or to be more precise, a group of niveaux segmental, lexical, et supralexical. Nous présentons d'abord l'utilisation des différents types de phonation pour distinguer entre les consonnes et les voyelles dans les overlaid functions. It gets what service it can langues du monde, et également du larynx out of organs and functions, nervous and comme lieu d'articulation des glottales, et la muscular, that come into being and are production des éjectives et des implosives. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
A Gender Analysis of the Countertenor Within Opera
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Undergraduate Honors Theses Student Research 5-8-2021 The Voice of Androgyny: A Gender Analysis of the Countertenor Within Opera Samuel Sherman [email protected] Follow this and additional works at: https://digscholarship.unco.edu/honors Recommended Citation Sherman, Samuel, "The Voice of Androgyny: A Gender Analysis of the Countertenor Within Opera" (2021). Undergraduate Honors Theses. 47. https://digscholarship.unco.edu/honors/47 This Article is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. University of Northern Colorado Greeley, Colorado The Voice of Androgyny: A Gender Analysis of the Countertenor Within Opera A Thesis Submitted in Partial Fulfillment for Graduation with Honors Distinction and the Degree of Bachelor of Music Samuel W. Sherman School of Music May 2021 Signature Page The Voice of Androgyny: A Gender Analysis of the Countertenor Within Opera PREPARED BY: Samuel Sherman APPROVED BY THESIS ADVISOR: _ Brian Luedloff HONORS DEPT LIAISON:_ Dr. Michael Oravitz HONORS DIRECTIOR: Loree Crow RECEIVED BY THE UNIVERSTIY THESIS/CAPSONTE PROJECT COMMITTEE ON: May 8th, 2021 1 Abstract Opera, as an art form and historical vocal practice, continues to be a field where self-expression and the representation of the human experience can be portrayed. However, in contrast to the current societal expansion of diversity and inclusion movements, vocal range classifications within vocal music and its use in opera are arguably exclusive in nature. -
I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I. -
Classification of Voice Modality Using Electroglottogram Waveforms
Classification of Voice Modality using Electroglottogram Waveforms Michal Borsky1, Daryush D. Mehta2, Julius P. Gudjohnsen1, Jon Gudnason1 1 Center for Analysis and Design of Intelligent Agents, Reykjavik University 2 Center for Laryngeal Surgery & Voice Rehabilitation, Massachusetts General Hospital, Boston, MA [email protected], [email protected], [email protected], [email protected] Abstract Subjective voice quality assessment has a long and success- ful history of usage in the clinical practice of voice disorder It has been proven that the improper function of the vocal analysis. Historically, several standards have been proposed folds can result in perceptually distorted speech that is typically and worked with in order to grade the dysphonic speech. One identified with various speech pathologies or even some neuro- popular auditory-perceptual grading protocol is termed GR- logical diseases. As a consequence, researchers have focused BAS [3], which comprises five qualities - grade (G), breath- on finding quantitative voice characteristics to objectively as- iness (B), roughness (R), asthenicity (A), and strain (S). An- sess and automatically detect non-modal voice types. The bulk other popular grading protocol is the CAPE-V [4] which com- of the research has focused on classifying the speech modality prises of auditory-perceptual dimensions of voice quality that by using the features extracted from the speech signal. This include overall dysphonia (O), breathiness (B), roughness (R), paper proposes a different approach that focuses on analyz- and strain (S). These qualitative characteristics are typically ing the signal characteristics of the electroglottogram (EGG) rated subjectively by trained personnel who then relate their au- waveform. -
Kenneth E. Querns Langley Doctor of Philosophy
Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c. -
Indo-European Linguistics: an Introduction Indo-European Linguistics an Introduction
This page intentionally left blank Indo-European Linguistics The Indo-European language family comprises several hun- dred languages and dialects, including most of those spoken in Europe, and south, south-west and central Asia. Spoken by an estimated 3 billion people, it has the largest number of native speakers in the world today. This textbook provides an accessible introduction to the study of the Indo-European proto-language. It clearly sets out the methods for relating the languages to one another, presents an engaging discussion of the current debates and controversies concerning their clas- sification, and offers sample problems and suggestions for how to solve them. Complete with a comprehensive glossary, almost 100 tables in which language data and examples are clearly laid out, suggestions for further reading, discussion points and a range of exercises, this text will be an essential toolkit for all those studying historical linguistics, language typology and the Indo-European proto-language for the first time. james clackson is Senior Lecturer in the Faculty of Classics, University of Cambridge, and is Fellow and Direc- tor of Studies, Jesus College, University of Cambridge. His previous books include The Linguistic Relationship between Armenian and Greek (1994) and Indo-European Word For- mation (co-edited with Birgit Anette Olson, 2004). CAMBRIDGE TEXTBOOKS IN LINGUISTICS General editors: p. austin, j. bresnan, b. comrie, s. crain, w. dressler, c. ewen, r. lass, d. lightfoot, k. rice, i. roberts, s. romaine, n. v. smith Indo-European Linguistics An Introduction In this series: j. allwood, l.-g. anderson and o.¨ dahl Logic in Linguistics d. -
Vocalist (Singer/Actor)
Vocalist (Singer/Actor) Practitioner 1. Timbre--the perceived sound quality of a musical note or tone that distinguishes different types of sounds from one another 2. Head Voice--a part of the vocal range in which sung notes cause the singer to perceive a vibratory sensation in his or her head 3. Chest Voice-- a part of the vocal range in which sung notes cause the singer to perceive a vibratory sensation in his or her chest 4. Middle Voice-- a part of the vocal range which exists between the head voice and chest voice in a female vocalist 5. Falseto Voice--a part of the vocal range the exist above the head voice in a male vocalist 6. Tessitura—the most musically acceptable and comfortable vocal range for a given singer 7. Modal Voice--the vocal register used most frequently in speech and singing; also known as the resonant mode of the vocal cords, it is the optimal combination of airflow and glottal tension that yields maximum vibration 8. Passaggio--the term used in classical singing to describe the transition between vocal registers (i.e. head voice, chest voice, etc.) 9. Belting—a specific technique of singing by which a singer brings his or her chest register above its natural break point at a loud volume; often described and felt as supported and sustained yelling 10. Melisma—a passage of multiple notes sung to one syllable of text 11. Riffs and Runs –melodic notes added by the singer to enhance the expression and emotional intensity of a song; a form of vocal embellishments during singing 12. -
Acoustic Correlates and Adult Perceptions of Distress in Infant Speech-Like Vocalizations and Cries
fpsyg-10-01154 May 27, 2019 Time: 17:48 # 1 ORIGINAL RESEARCH published: 29 May 2019 doi: 10.3389/fpsyg.2019.01154 Acoustic Correlates and Adult Perceptions of Distress in Infant Speech-Like Vocalizations and Cries Hyunjoo Yoo1*, Eugene H. Buder2,3, Dale D. Bowman3,4, Gavin M. Bidelman2,3,5 and D. Kimbrough Oller2,3,6 1 Department of Communicative Disorders, The University of Alabama, Tuscaloosa, AL, United States, 2 School of Communication Sciences and Disorders, The University of Memphis, Memphis, TN, United States, 3 Institute for Intelligent Systems, The University of Memphis, Memphis, TN, United States, 4 Department of Mathematical Sciences, The University of Memphis, Memphis, TN, United States, 5 Department of Anatomy and Neurobiology, University of Tennessee Health Science Center, Memphis, TN, United States, 6 Konrad Lorenz Institute for Evolution and Cognition Research, Klosterneuburg, Austria Prior research has not evaluated acoustic features contributing to perception of human infant vocal distress or lack thereof on a continuum. The present research evaluates perception of infant vocalizations along a continuum ranging from the most prototypical intensely distressful cry sounds (“wails”) to the most prototypical of infant sounds that typically express no distress (non-distress “vocants”). Wails are deemed little if at all related to speech while vocants are taken to be clear precursors to speech. We selected prototypical exemplars of utterances representing the whole continuum from 0 and Edited by: 1 month-olds. In this initial -
Zarlinian Modality in Claude Le Jeune's Dodecacorde Jessica
Zarlinian Modality in Claude Le Jeune’s Dodecacorde Jessica Herdman It is widely acknowledged that Claude Le Jeune was exalted among his contemporaries for his facility in modal composition – a reputation that he purposefully exploited through the publication of modally organized works. “According to his friend Artus Thomas and the organist Jehan Titelouze, Le Jeune excelled his predecessors in his understanding of the modes, as illustrated by… two airs performed during the wedding festivities of the Duke of Joyeuse in 1581.”1 Even in the present day, with the controversial discussion of the possible polemic between the theory and practice of mode during the Renaissance, scholars frequently point to Claude Le Jeune’s Octonaires and Dodecacorde as exemplary of a purposeful theoretical- practical union. Both of these works were explicitly intended to represent contemporary conceptions of modality; in particular, the Dodecacorde espoused an affiliation with the modal theory presented by Zarlino in his 1573 edition of Le Institutioni harmoniche.2 1 Frank Dobbins and Isabell His, “Claude Le Jeune” Grove Music Online, ed. L. Macy, http://www.grovemusic.com (accessed No- vember 8, 2007). 2 Claude Le Jeune, Dodecacorde, ed. Anne Harrinton Heider (Madi- son: A-R Editions, 1989), xvi. Heider explains that, while the name of the work, Dodecacorde, would imply an alliance with Glarean’s own theoretical Dodecacorde, Le Jeune’s modal ordering is purposely Zarlinian, placing Ionian (C–C) as the first mode (Glarean’s expansion of the modal system retained