Into the Valley: Voices I Heard Along the Way contains a preface and a collection of five short stories. The preface discusses the use of voice as a technique to develop characters and create authenticity through elements such as sentence structure, diction, dialogue, and regional, cultural, and/or gender-specific affectations to make the words on the page become audible language in the mind of the reader. Each story is written with a unique voice that presents characters who struggle to come to terms with the truth and its various shades of reality.

This thesis brings together two different lines of research, the nature of passive voice, the nature of readability. Commonly, languages have a range of tools for detransitivisation, topicalisation, and impersonalisation, of which passivisation is one (Givón, 1981). Passives have important roles in our language, and prescribing against their use lacks a full understanding of these roles. Much of the concern around passives from writers, editors, and teachers is no more than folklore that has not clearly analysed various writing and reading problems. Many awkward sentences are not awkward because they use passives but because they are wordy, clumsy, or pretentious. Most criticisms have little basis in linguistic theory, and rarely is there more than passing mention of the important role that passives play in communication. Some uses of passives are inappropriate, being vague, ambiguous, or even deceitful. These inappropriate uses of passive voice give the construction a bad name. They have become ammunition for prescriptive grammarians to fire at all uses of passives, often with weak analysis and minimal reference to linguistic theory. ‘Avoid passives’ has become a mantra. I tentatively suggest that there is unlikely to be a cost to processing passives. Given the speed at which the brain processes clauses, any differences in readability (if they exist) must be miniscule. Consequently, I suggest that any differences are unimportant relative to the benefits that appropriately used passives bring to readability. Furthermore, appropriately used passives may actually improve readability, especially when there is greater interest in the passive subject than the active subject, and when the passive serves to connect clauses or sentences.

No description available.

Thesis (MMus) -- University of Stellenbosch, 2001. / ENGLISH ABSTRACT: In preparation for the basic teaching in the instruction of the male singing voice, it is essential that the singing teacher becomes thoroughly familiar with the general pedagogical requirements of vocal training. Each of the sections in chapter 1 represents a wide-ranging study by itself but it will be presented in summarized form here. Chapter 2 focus chiefly on basic beginners' instruction which is indispensable for the establishment of a sound singing technique. The teaching principles of beginners' instruction which are set out in this chapter, are based on tested methods recognized internationally by various famous teachers. These teaching methods, together with literary research on this subject, have been condensed empirically over thirty years, into a system of teaching by the writer. The major focus of chapter 3 is on the physiology of the adolescent boy's changing voice. When adolescence sets in, from the age 13 - 15, enormous changes take place in the anatomical-physiological structure of a boy's larynx. These far-reaching changes are brought about by the influence of the sex hormones and consist of complex physical as well as psychological growth stages through which the young boy has to develop. Knowledge of the different stages in voice changes and their individual characteristics of sound are important requirements for voice classification which takes place during the formative training. Chapter 4 focuses on the problematic nature of the transition of the register of the male voice. To prepare for the teaching process of this transition (of the male voice), the teacher should be well-qualified to be able to identify the classification of the registers of the different male voice-types. In addition, he should be totally familiar with the ideal sound typical of the upper registers which would be required from a professional singer on the international stage. "The head register in the male singing voice is often one of the most difficult vocal adjustments to acquire and to maintain ... A well developed operatic head register, 'Vollton der Kopfstimme', is the hall-mark [ ... ] of all well-trained male singers" (Miller 1982: 120). The actualisation of this ideal sound which comes about through copertura-schooling of sound in the upper register is the focal point of this study. Therefore this chapter focuses specially on the ideal sound of the full voice in the upper register versus a cultivated falsetto sound in the upper register. Chapter 5 addresses the implementation of a didactical system by famous singers and singing teachers. Therefore in chapter 5 the focus is placed on the technical training of the secondo passagio by presenting technical exercise and the practical application of the standard vocal repertoire of the male voice. Due to length restrictions of this dissertation, there will be reference only to some technical exercise and examples of repertoire. / AFRIKAANSE OPSOMMING: As voorbereiding tot die didaktiese beginsels in sangonderrig van die manstem is dit noodsaaklik dat die sangonderwyser volkome vertroud sal wees met die algemene pedagogiese voorvereistes vir die onderrig van sang. Elkeen van die afdelings in hoofstuk 1 regverdig eintlik 'n omvattende studie in sigself, maar hier word dit samevattend aangebied. Hoofstuk 2 fokus hoofsaaklik op goeie aanvangsonderrig wat onontbeerlik is vir die vestiging van 'n goeie sangtegniek. Samevattend word op die noodsaaklike basiese beginsels van aanvangsonderrig gekonsentreer. Die didaktiese beginsels van aanvangsonderrig wat vanaf hierdie hoofstuk uiteengesit word, is gebaseer op beproefde metodes wat internasionaal deur verskeie beroemde leermeesters erken word. Hierdie onderrigmetodes, tesame met die nagevorsde vakliteratuur, is oor 'n tydperk van dertig jaar op empiriese wyse deur die skrywer gekondenseer tot 'n sisteem van onderrig. Die kemfokus van hoofstuk 3 is op die stemfisiologie van die adolessente seun. Wanneer adolessensie vanaf die ouderdom van dertien tot vyftien jaar by die seun intree, vind daar groot veranderinge in die anatomies-fisiologiese struktuur van die seun se larinks plaas. Hierdie ingrypende veranderinge word teweeg gebring deur die invloed van die geslagshormone en behels fisiek sowel as psigies 'n komplekse groeifase waardeur die jong seun moet ontwikkel. Dit is belangrik dat die pedagoog deeglik vertroud sal wees met hierdie komplekse groeiproses. Kennis van die verskillende stemmutasiestadiums en die individuele klankkarakters daarvan is 'n belangrike voorvereiste vir die stemklassifisering wat by aanvangsonderrig plaasvind. In hoofstuk 4 val die soeklig op die problematiek van registeroorgange by die manstem. As voorbereiding tot die onderrigproses van die registeroorgange van die manstem moet die pedagoog onderleg wees in die klassifisering van die registers van die verskillende manstemtipes. Ook moet hy ten volle vertroud wees met die tipiese klankideaal van die hoëregister wat van 'n professionele sanger op die internasionale verhoog verwag word. "The head register in the male singing voice is often one of the most difficult vocal adjustments to acquire and to maintain . . . A well developed operatic head register, 'Vollton der Kopfstimme', is the hall-mark [ ... ] of all well-trained male singers" (Miller 1982: 120). Die verwesenliking van hierdie klankideaal wat deur copertura-klankgebruik in die hoëregister tot stand kom, is die kemfokus van hierdie studie. Hierdie hoofstuk konsentreer dus sterk op die klankideaal van volstem in die hoëregister versus 'n gekultiveerde falsetklank in die hoëre gister. Vir die verkryging van 'n stabiele hoëregister deur middel van die copertura-tegniek word in hoofstuk 5 betoog vir die toepassing van 'n didaktiese sisteem wat gebaseer is op onderrigmetodes wat beproef is deur beroemde sangers en sangpedagoë. In hoofstuk 5 is dus gekonsentreer op die tegniese skoling van die secondo passaggio deur middel van tegniese oefeninge en die praktiese toepassing daarvan op die standaard sangrepertorium van die manstem. Weens lengtebeperking by hierdie skripsie word daar net na enkele tegniese oefeninge en repertoriumvoorbeelde verwys.

Thesis (MDram)--University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The actor's work consists of communication, in other words the transfer of intellectual and emotional ideas. The voice is undoubtedly the most important means of auditory communication. The development and maintenance of the actor's voice is, therefore, an essential requirement for effective communication. The vocal development of actors and singers is aimed at releasing the breathing process, the passage of sound through the body and the organs of articulation, as well as the elimination of obstructive psychophysical inhibitions. The same body parts are used for the production of sound in both speaking and singing. The vocal instrument may be divided into three parts, namely the respiratory system, the glottic system and the resonators. The structure and functioning of the voice as an instrument is in many respects somewhat complex. Knowledge of the structure and functioning of the vocal system facilitates the prevention and elimination of speech problems. Speech and singing, as subdivisions of voice production, are both closely linked to the functioning of certain body parts, and it is for this reason that singing helps to improve speech. For instance, because singing demands a larger breath capacity and greater breath control, singing techniques contribute positively to the development of the actor's voice. Various voice production errors and problems encountered in actors, such as breathing-related problems, defective resonance adaptations and defective projection, can be eliminated by means of technical exercises. An analysis of the techniques for speech and singing reveal such a strong coincidence that they can both be classed as voice production techniques. A singing-based approach to vocal training will, therefore, have only a positive effect on the actor's voice production. / AFRIKAANSE OPSOMMING: Die akteur se werk behels kommunikasie, dit wil sê die oordra van intellektuele en emosionele idees. Die stem is meestalonontbeerlik as ouditiewe kommunikasiemiddel. Daarom is die ontwikkeling en instandhouding van die akteur se stem van wesenlike belang. Die fokus van stemontwikkeling by akteurs en sangers word gerig op die bevryding van die asemhalingsproses, die klankgang deur die liggaam, die artikulasieorgane en die uitwissing van stremmende psigo-fisiese inhibisies. In spraak en sang word dieselfde liggaamsdele vir klankproduksie aangewend. Die vokale instrument kan in drie verdeel word, naamlik die asemhalingstelsel, die glottale stelsel en die resonators. Die bou en werking van die stem as instrument is in vele opsigte kompleks. Kennis van die bou en werking van die vokale instrument kan egter tot die voorkoming of verbetering van stem- en spraakprobleme lei. Spraak en sang as onderafdelings van stemproduksie skakelonderling met betrekking tot die betrokkenheid van sekere liggaamsdele en hul funksies, en derhalwe ondersteun sangoefeninge spraakproduksie. Aangesien sang egter 'n groter asemkapasiteit en sterker asembeheer verg as spraak, kan sangtegniese oefeninge positief bydra tot die akteur se stemontwikkeling. Verskeie stemfoute en stemprobleme van die akteur kan verbeter word met behulp van tegniese oefeninge, naamlik asemverwante probleme, gebrekkige resonansie-aanpassings en gebrekkige projeksie. 'n Ontleding van die tegnieke van spraak en sang dui op so 'n sterk ooreenkoms dat beide as stemtegnieke geklassifiseer kan word. Daarom sal 'n sangtegniekmatige benadering tot stemopleiding die spraakstem van die akteur positiefbeïnvloed.

Enhancing the separated singing voices from harmonic (pitched) and percussive musical instruments in songs recorded with a single microphone is the scope of this thesis. Separating singing voice has applications in music information retrieval systems. Various methods have been used to separate singing voice from harmonic and percussive instruments. Most of them use two stages of separation, one for separating harmonic instruments, and the other for separating percussive instruments. One of these Algorithms uses non-negative matrix factorization in each stage to separate harmonic and percussive instruments. Traditionally, in each stage, components' bases or gains are clustered based on discontinuity measures. The first contribution of this thesis was the use of local discontinuity of significant parts of these bases and gains, followed by splitting (rather than classifying) each component's basis or gain. This significantly refined the separated voice and music sources. Median filtering has also been used in two stages to separate singing voice. Typically, horizontal and vertical filters are used in each stage. The second contribution of this thesis was to enhance the separation quality using a combination of six additional diagonal median filters to accommodate singing voice frequency modulations. In addition, filters parameters that are suitable for all songs regardless of their sampling frequencies are sought. The third contribution of this research was the novel use of Hough Transform to detect traces of pitched instruments in the magnitude spectrogram of the separated voice. These traces are then removed completely using median filtering after successfully calculating their frequency bands. The new Hough Transform based approach was applied to a number of separation algorithms as a post processing step and it significantly improved the quality of the separated voice and music in all of them.

Thesis (MDram)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

The aim of this current research was two-fold; one aim was to develop a deeper understanding of job insecurity and its association with safety voicing. The perception of job insecurity was specifically examined in relation to job insecurity and its association with safety voice. The second aim was to examine safety voice with possible antecedents based on past research. This involved investigating the proposition that safety voice falls within a safety severity concern continuum. This continuum suggests that the severity of the safety concern may play a role in an employee’s willingness to voice these concerns. A questionnaire was devised to investigate perceptions of 47 employees from a single organisation. This organisation is undergoing a planned future job redundancy process (within a few years as of 2014). Correlational and univariate analyses were used to investigate any associations and differences in means between the different measures. Results from this research found partial support for the hypothesis that perceived organisational support, safety climate, and perceived co-worker support were positively associated with safety voice. The hypothesis that higher job insecurity would be associated with lower safety voice concerns was tested, and was not found not to be statistically significant to support the idea. This dissertation offers a preliminary indication that safety voice varies according to severity, and that job insecurity may affect employees’ likelihood to voice safety concerns. Practical implications and directions for further research are discussed.

Thesis (M.S.)--University of Nevada, Reno, 1998. / Includes bibliographical references. Online version available on the World Wide Web.

Thesis (M.A.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Includes bibliographical references (p. 79-83)