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Into the Valley: Voices I Heard Along the WayBarth, Amy K. 08 1900 (has links)
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.
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Passive be damned: The construction that wouldn't be beatenAllan, Stu January 2009 (has links)
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.
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VOCAL FUNCTION EXERCISES (VFE): ACOUSTIC AND PHYSIOLOGIC EXAMINATION OF SUSTAINED /O/ WITH BUZZISHIKAWA, KEIKO 13 July 2006 (has links)
No description available.
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n Handleiding tot die didaktiek van sangonderrig met spesifieke verwysing na onderrig van die registeroorgange van die manstemVan Heerden, Petrus January 2000 (has links)
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.
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Die relevansie van sangvaardighede as deel van die akteur se stem- en spraakopleidingStoltz, Christelle 12 1900 (has links)
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.
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Single channel separation of vocals from harmonic and percussive instrumentsDeif, Hatem January 2017 (has links)
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.
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'n Ondersoek na Kristin Linklater se benadering tot stemontwikkeling /Van der Merwe, Schalk Willem. January 2008 (has links)
Thesis (MDram)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.
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Safety Voicing: The impact of job insecurity and the differences in severity of safety concerns.Lu, Sam January 2014 (has links)
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.
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Acoustic, physiologic, and aerodynamic effects of the clinical stimulation technique "tongue protrusion/i/" /Nelson, Wendy Jill January 1998 (has links)
Thesis (M.S.)--University of Nevada, Reno, 1998. / Includes bibliographical references. Online version available on the World Wide Web.
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A therapeutic approach for improved vocal performance in individuals in teaching occupationsSonnenberg, Lori L. January 1900 (has links) (PDF)
Thesis (M.A.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Includes bibliographical references (p. 79-83)
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