Šiame diplominiame darbe yra apžvelgiama nebyliojo kino analizė. Kurią sudaro kino pradžios ir vystymosi aptarimas, remiantis istoriniais literatūros šaltiniais. Neišskiriant konkrečių pavienių filmų yra smulkiau analizuojas nebyliojo kino sudėtiniai elementai, tokie kaip muzika ir rašytinis tekstas filme. Aptariama jų stilistinė ir emocinė vartosena nebyliajame kine. Svarbi darbo dalis siejama su garso atsiradimo kine sukeltomis permainomis. Iškilę to laiko režisierių ir teoretikų, tokių kaip Eizenšteinas ir Pudovkinas, debatai dėl garso naudojimo kine keliamos reikiamybės ir pavojų vėliau realiai pasitvirtina praktikoje. Nebylumas kine analizuojamas ne vien istoriniu, bet ir filosofiniu aspektu. Antroji šio darbo dalis skirta pasikartojančioms nebyliojo kino apraiškoms išskirti. Tylos ir nebylumo vartosenos tyrimui remiuosi Susan Sontag tylos estetikos studijomis šiuolaikiniuose menuose, kurias savo ruoštu pakreipiau nagrinėdama idėjinį nebylumo poreikį kine, kuris kyla iš persisotinimo kalba ir daugžodžiavimo. Kūrybinėje darbo dalyje yra aptarimas klausos sutrikimų turinčių žmonių poreikis save reikšti bylioje raiškoje. Ir atliekamas video darbas šia tema. / This thesis is an overview of silent film analysis. This contains of early cinema beginning and development steps according historical researches. Without a need of separating concrete single movies and analyzing them as canonic examples I put my attention on music and written text stylistic influences. It discusses the emotional and stylistic usage silent cinema. An important part of this work is associated with the emergence of sound cinema – related changes. The evocation of that time, directors and theorists such as Eisenstein and Pudovkin, debate on the use of sound in cinema, and the risk posed by the necessity which actually proves in a later practice. Silence is analyzed not only in cinema history, but also the philosophical aspect. The second part of this work is given for manifestation of silent cinema release. Susan Sontag's survey of silence aesthetic studies of contemporary art, by its turn, examining the ideological tilt gives idea of need of deafness for the cinema, which arise from satiety language and repetition. Creative part of this work is hearing impaired people need to express themselves in resolution which is based on sound media. And according this topic I made a video work.

El objetivo del siguiente artículo es presentar un estudio sobre las vocales susurradas, y su gradual desaparición, en la lengua shuar. El estudio parte de la premisa de que las vocales susurradas desaparecen de la lengua shuar por la acomodación al sistema vocálico del español. Este estudio se fundamenta en la investigación realizada en 21 comunidades a lo largo del territorio shuar. Se examinan tres factores extralingüísticos: edad, localidad y grado del bilingüismo. La conclusión confirma que el contacto con el español juega un papel importante en la desaparición de las vocales susurradas porque la intensidad del contacto es el factor que más influye en su desuso gradual. / The objective of the following paper is to present a study about the voiceless vowels in Shuar and their decreasing vitality. The hypothesis of the study presumes that the voiceless vowels disappear due to the influence of Spanish vocalic system. The database for the research was collected in 21 Shuar communities. The study takes into account three extralinguistic factors: age, locality and grade of bilingualism. The conclusion confirms that the contact with Spanish plays an important role in the disappearance of the voiceless vowels as the intensity of contact with Spanish is the most influential factor in their gradual disuse.

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This study aims to explore if it is possible to form separate categories of aspirated voiceless stops in a second language, distinct from the equivalent categories in the native language, for native speakers of a language with an intermediate degree of aspiration, and if such category formation is eased by long-term exposure to another language in which aspirated voiceless stops exist. Two groups of adult native Japanese speakers who had lived in Sweden for a long and short time respectively were recorded when reading a list of sentences containing word-initial, utterance-medial /p t k/ in Japanese and English. Both groups produced higher VOT values for the English stops than for the Japanese stops. The results were significant for /t/ and /k/ and for the long-term residents' /p/, but not for the short-term residents' /p/, presumably because of a low number of tokens. The results are nevertheless interpreted as evident of the possibility of phonetic category formation even though there is only a small difference from the corresponding category in the native language. Since both groups had established new phonetic categories, degree of exposure to Swedish is interpreted as likely not to be a relevant factor.

In theoretical part Master’s thesis deals with processing acoustic signal before speech recognition. There are described methods of automatic speech recognition and capture attributes. Those methods are short-term energy of signal, short-term autocorrelation analysis, linear predictive analysis etc. In practical part has been created software, which has to switch off of electrical tool, if the keyword “zastav” has been spoken. In the second part of this thesis software has been optimized for work in real conditions (noise generated by electrical tools).

Although English and Spanish both have the voiceless stops /ptk/, they differ in VOT; English has long-lag voiceless stops and Spanish has short-lag. This difference means that native English-speaking learners of Spanish are likely to transfer the long voice lag typical of their first language (L1) to Spanish voiceless stops. This study measured the VOT of 20 native English-speaking learners of Spanish, each with a length of residence (LOR) in a Spanish-speaking country of almost 2 years. The study participants were found to produce voiceless stops intermediate to the averages of their L1 (American English) and L2 (Spanish), with some speakers producing voiceless stops with the range observed for Spanish. A significant main effect on VOT was found for all the variables of linguistic context tested: place of articulation, word-initial vs. -internal position, stress, preceding segment and following segment. A significant main effect was also found for speech style, percentage of communication done in Spanish with native Spanish speakers while abroad, years of formal L2 instruction prior to stay abroad, and time spent each week speaking Spanish with native speakers since their return home. While the extra-linguistic variables are correlated with more target-like VOT, the amount of communication done in the L2 with other native English L2 learners of Spanish was correlated with longer VOTs, i.e. less target-like VOTs, possibly due to reinforcement of L1 transfer habits.

Made available in DSpace on 2016-04-28T18:24:13Z (GMT). No. of bitstreams: 1 Fabiola Dagostini Peleias.pdf: 3457328 bytes, checksum: 7dd5e2d586af21d038754992b5d71372 (MD5) Previous issue date: 2009-11-06 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work is part of the sound acquisition area in second language (L2), specifically in English, and it aimed to investigate whether there was a relationship between production and perception of the voiceless interdental fricative pronunciation [θ] or not in a group of Brazilian native speakers (BNS), based on acoustic and phonetic analysis. It was stated that there is such a relationship on account of the BNS in the sample. According to the literature, Brazilian learners of English tend to produce the voiceless interdental fricative [θ] as [s], [f] and [t] ((LIEFF & NUNES, 1993). This is because they consider such sound to be similar to [s], [f] and [t], and as stated by Flege (1999) and Meador, Flege and MacKay (2000), similar sounds of L1 (native language, in this case, Brazilian Portuguese - BP) and L2 may cause difficulties for the learner. Three studies have been made: an analysis of the production of the 3 BNS as well as of the AMS (American Native speaker) concerning the sound [θ]; an analysis of the perception of the sound [θ] by the 3 BNS and, finally, an evaluation of the 3 BNS productions of the sound [θ] by 31 American Native judges. The results of the three analyses have been crossed, and it can be posed that they conform to the literature about the link between production and perception and the assimilation of sounds from L2 to L1. Moreover, with such results, it was possible to achieve the goal of this work. It was verified that, regarding the perception analysis, the three BNS tend to perceive the sound [θ] as [θ] or [t]. Regarding the production analysis, one of the BNS approached the ANS. Therefore, it can be stated that there is a relationship between this BNS perception and production. The two remaining BNS did not approach the ANS. Most of the time, those speakers perceived the sound [θ] as [t], and the same happened with their productions of the sound [θ]. Taking into account those figures, it can be stated that there is a relationship among their production and perception, even if they have not perceived the sound [θ] as it should have been done. The perception and production analyses results were compared with the evaluation of the 31 judges, and the same can be said concerning all BNS: one of the BNS approached the ANS concerning the sound [θ], and the two remaining ones did not approach the ANS. To sum up, it was observed that, in this particular sample, there is a relationship between their production and perception, and that two out of the three BNS assimilated the sound [θ] as [t] / Este trabalho situa-se na área de aquisição de sons de L2 (segunda língua), mais especificamente língua inglesa, e seu objetivo foi investigar se existe uma relação entre a produção e a percepção da pronúncia da fricativa interdental surda [θ] em um grupo de sujeitos nativos brasileiros, a partir da análise fonético-acústica. Defendia-se que há uma relação entre a percepção e a produção da pronúncia da fricativa interdental surda pelos sujeitos nativos brasileiros da amostra. Segundo a literatura, aprendizes brasileiros de inglês tendem a produzir a fricativa interdental surda da língua inglesa [θ] como [s], [f] e [t] (LIEFF e NUNES, 1993). Isso porque consideram que esse som é similar aos citados e, de acordo com Flege (1999) e Meador, Flege e MacKay (2000), sons similares de L1 (língua materna Português Brasileiro - PB)e L2 causam dificuldades para o aprendiz. Foram feitos três estudos: uma análise das produções dos 3 SNB (sujeitos nativos do PB) e do SNA (sujeito nativo americano) envolvendo a [θ]; uma análise de percepção do [θ] pelos 3 SNB e uma avaliação, por juízes nativo-americanos, das produções dos 3 SNB e do SNA envolvendo o [θ]. Os resultados dos estudos foram cruzados, e constatou-se que estão em consonância com a literatura sobre o vínculo entre produção e percepção e assimilação de sons em L2 para a L1, atingiram o objetivo e validaram a hipótese defendida. Os 3 SNB, no teste de percepção, tendem a perceber o som [θ], em sua maioria, como [θ] ou como [t]. No teste de produção, a SNB1 aproximou-se do SNA; para esse sujeito, há relação entre sua percepção e sua produção. Os SNB2 e SNB3 se distanciaram do SNA. Em sua maioria, perceberam os estímulos como plosiva alveolar surda [t], comportamento que também se refletiu em sua produção. Portanto, pode-se afirmar que há relação entre produção-percepção, mesmo não tendo percebido e produzido o som [θ], em sua maioria, de maneira correta. Os testes foram comparados às avaliações dos juízes norte-americanos, e o mesmo pode ser afirmado para todos os sujeitos: os estímulos do SNB1, em sua maioria, foram avaliados como fricativa interdental surda [θ], do SNB2 como plosiva alveolar surda [t] e do SNB3 também como plosiva alveolar surda [t]. Observou-se, nesta amostra, que houve a relação entre produção e percepção e que 2 entre 3 dos SNB assimilaram [θ] como [t]

Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

<p>While pronunciation has previously been described as a neglected skill in the second language classroom, a growing body of literature has demonstrated that pronunciation training improves students’ productions (Derwing & Munro, 2005). Mispronunciations have been shown to impact comprehensibility, intelligibility, and accentedness (Derwing & Munro, 2009). As pronunciation instruction methods have begun to be the subject of empirical research, Visual Feedback (VF) has begun to emerge as a novel method for teaching pronunciation. This method has been shown to be particularly effective for teaching voice onset time (VOT), a characteristic of voiceless stop consonants (e.g., /p, t, k/). Worth noting, English and Spanish differ concerning VOT, with English employing long VOTs (30-100ms) and Spanish short VOTs (0-30ms) (Lisker & Abramson’s, 1964). Previous research has focused exclusively on employing VF for shortening VOT, although there are some compelling reasons to question whether the size and nature of the effect would be similar for lengthening VOT. The present study examines the potential effectiveness of VF as a means of lengthening the VOT of Spanish learners of English.</p> <p>The participants of the study were twenty-six students from a large Colombian university. The experiment design consisted of a pretest, three VF interventions, a posttest, and a delayed posttest. The tests were composed of two tasks, differing in their complexity: recording words in isolation and words in utterances. Stimuli consisted of English words (n= 4266) with word-initial voiceless stops (/p, t, k/). Stimuli were controlled for stress, following vowel, and word familiarity  and were measured for VOT using Praat (Boersma & Weenink, 2022).</p> <p>Results from statistical analysis coupled with a visual inspection of the data indicated that the experimental group performed similarly in the three stages of the study and that the visual feedback paradigm did not result in changes in VOT. However, some degree of variation was found among the participants concerning their average VOTs. While some participants showed an overall increase (i.e., improvement) in English VOTs for the three phonemes /p/, /t/, and /k/ over time, other participants did not. In general, most of the participants produced English-like VOTs in the pretest, constituting a degree of ceiling effects. The rate of exposure to the target language and the saliency of English are factors that could have played a role in the development of the VOT scores of the participants before the study. Therefore, the discussion focuses on both the nature of the individual variability and the theoretical implications of ceiling effects found in the current study versus the lack of ceiling effects in other studies with similar populations.</p>