6,679 research outputs found
ACOUSTIC SPEECH MARKERS FOR TRACKING CHANGES IN HYPOKINETIC DYSARTHRIA ASSOCIATED WITH PARKINSON’S DISEASE
Previous research has identified certain overarching features of hypokinetic dysarthria
associated with Parkinson’s Disease and found it manifests differently between
individuals. Acoustic analysis has often been used to find correlates of perceptual
features for differential diagnosis. However, acoustic parameters that are robust for
differential diagnosis may not be sensitive to tracking speech changes. Previous
longitudinal studies have had limited sample sizes or variable lengths between data
collection. This study focused on using acoustic correlates of perceptual features to
identify acoustic markers able to track speech changes in people with Parkinson’s
Disease (PwPD) over six months. The thesis presents how this study has addressed
limitations of previous studies to make a novel contribution to current knowledge.
Speech data was collected from 63 PwPD and 47 control speakers using an online
podcast software at two time points, six months apart (T1 and T2). Recordings of a
standard reading passage, minimal pairs, sustained phonation, and spontaneous speech
were collected. Perceptual severity ratings were given by two speech and language
therapists for T1 and T2, and acoustic parameters of voice, articulation and prosody
were investigated. Two analyses were conducted: a) to identify which acoustic
parameters can track perceptual speech changes over time and b) to identify which
acoustic parameters can track changes in speech intelligibility over time. An additional
attempt was made to identify if these parameters showed group differences for
differential diagnosis between PwPD and control speakers at T1 and T2.
Results showed that specific acoustic parameters in voice quality, articulation and
prosody could differentiate between PwPD and controls, or detect speech changes
between T1 and T2, but not both factors. However, specific acoustic parameters within
articulation could detect significant group and speech change differences across T1 and
T2. The thesis discusses these results, their implications, and the potential for future
studies
Writing Facts
»Fact« is one of the most crucial inventions of modern times. Susanne Knaller discusses the functions of this powerful notion in the arts and the sciences, its impact on aesthetic models and systems of knowledge. The practice of writing provides an effective procedure to realize and to understand facts. This concerns preparatory procedures, formal choices, models of argumentation, and narrative patterns. By considering »writing facts« and »writing facts«, the volume shows why and how »facts« are a result of knowledge, rules, and norms as well as of description, argumentation, and narration. This approach allows new perspectives on »fact« and its impact on modernity
Grasping nothing: a study of minimal ontologies and the sense of music
If music were to have a proper sense – one in which it is truly given – one might reasonably place this in sound and aurality. I contend, however, that no such sense exists; rather, the sense of music takes place, and it does so with the impossible. To this end, this thesis – which is a work of philosophy and music – advances an ontology of the impossible (i.e., it thinks the being of what, properly speaking, can have no being) and considers its implications for music, articulating how ontological aporias – of the event, of thinking the absolute, and of sovereignty’s dismemberment – imply senses of music that are anterior to sound. John Cage’s Silent Prayer, a nonwork he never composed, compels a rerethinking of silence on the basis of its contradictory status of existence; Florian Hecker et al.’s Speculative Solution offers a basis for thinking absolute music anew to the precise extent that it is a discourse of meaninglessness; and Manfred Werder’s [yearn] pieces exhibit exemplarily that music’s sense depends on the possibility of its counterfeiting. Inso-much as these accounts produce musical senses that take the place of sound, they are also understood to be performances of these pieces. Here, then, thought is music’s organon and its instrument
Examples of works to practice staccato technique in clarinet instrument
Klarnetin staccato tekniğini güçlendirme aşamaları eser çalışmalarıyla uygulanmıştır. Staccato
geçişlerini hızlandıracak ritim ve nüans çalışmalarına yer verilmiştir. Çalışmanın en önemli amacı
sadece staccato çalışması değil parmak-dilin eş zamanlı uyumunun hassasiyeti üzerinde de
durulmasıdır. Staccato çalışmalarını daha verimli hale getirmek için eser çalışmasının içinde etüt
çalışmasına da yer verilmiştir. Çalışmaların üzerinde titizlikle durulması staccato çalışmasının ilham
verici etkisi ile müzikal kimliğe yeni bir boyut kazandırmıştır. Sekiz özgün eser çalışmasının her
aşaması anlatılmıştır. Her aşamanın bir sonraki performans ve tekniği güçlendirmesi esas alınmıştır.
Bu çalışmada staccato tekniğinin hangi alanlarda kullanıldığı, nasıl sonuçlar elde edildiği bilgisine
yer verilmiştir. Notaların parmak ve dil uyumu ile nasıl şekilleneceği ve nasıl bir çalışma disiplini
içinde gerçekleşeceği planlanmıştır. Kamış-nota-diyafram-parmak-dil-nüans ve disiplin
kavramlarının staccato tekniğinde ayrılmaz bir bütün olduğu saptanmıştır. Araştırmada literatür
taraması yapılarak staccato ile ilgili çalışmalar taranmıştır. Tarama sonucunda klarnet tekniğin de
kullanılan staccato eser çalışmasının az olduğu tespit edilmiştir. Metot taramasında da etüt
çalışmasının daha çok olduğu saptanmıştır. Böylelikle klarnetin staccato tekniğini hızlandırma ve
güçlendirme çalışmaları sunulmuştur. Staccato etüt çalışmaları yapılırken, araya eser çalışmasının
girmesi beyni rahatlattığı ve istekliliği daha arttırdığı gözlemlenmiştir. Staccato çalışmasını yaparken
doğru bir kamış seçimi üzerinde de durulmuştur. Staccato tekniğini doğru çalışmak için doğru bir
kamışın dil hızını arttırdığı saptanmıştır. Doğru bir kamış seçimi kamıştan rahat ses çıkmasına
bağlıdır. Kamış, dil atma gücünü vermiyorsa daha doğru bir kamış seçiminin yapılması gerekliliği
vurgulanmıştır. Staccato çalışmalarında baştan sona bir eseri yorumlamak zor olabilir. Bu açıdan
çalışma, verilen müzikal nüanslara uymanın, dil atış performansını rahatlattığını ortaya koymuştur.
Gelecek nesillere edinilen bilgi ve birikimlerin aktarılması ve geliştirici olması teşvik edilmiştir.
Çıkacak eserlerin nasıl çözüleceği, staccato tekniğinin nasıl üstesinden gelinebileceği anlatılmıştır.
Staccato tekniğinin daha kısa sürede çözüme kavuşturulması amaç edinilmiştir. Parmakların
yerlerini öğrettiğimiz kadar belleğimize de çalışmaların kaydedilmesi önemlidir. Gösterilen azmin ve
sabrın sonucu olarak ortaya çıkan yapıt başarıyı daha da yukarı seviyelere çıkaracaktır
Making The Difference for Infants And Toddlers Who Are Visually Impaired: The Effect Of Professional Learning Opportunities for Early Intervention Practitioners
Blindness and visual impairments (BVI) are physical disabilities that can contribute to longstanding impacts on the developmental and life-long achievement of young children identified with vision loss. Early intervention services for this population demonstrate the potential to increase the meaningful and longstanding impact on the trajectory of a child and their caregiver. According to researchers Ely and Ostrosky (2017), there is a significant deficit in access to early childhood intervention practitioners with the expertise and skillset needed to address the unique needs to support this population. A needs assessment study revealed that early intervention practitioners valued working with families of children who have BVI and recognized their perspective. However, practitioner respondents held limited knowledge specific to visual impairment and the potential impacts on a child's development. This mixed methods study investigated whether participation in professional learning affected early intervention practitioners' perception of their role and potential application of intervention practices (i.e., evaluation and assessment). The study focused on strengthening participants' knowledge specific to aspects of vision impairment and increasing practices employed through service delivery. Seventeen participants participated over five months. The online intervention was provided across three synchronous and two asynchronous sessions. Findings revealed that participants demonstrated increased knowledge about BVI content and the ability to facilitate service delivery on topics specific to the field following the intervention. The personal learning goals created by participants focused on BVI, and they all achieved their goal(s). Participants indicated that they considered the professional development program a critical step to support their work with infants and toddlers who have BVI and their families
Conscience and Consciousness: British Theatre and Human Rights.
This research project investigates a paradigm of human rights theatre. Through the lens of performance and theatre-making, this thesis explores how we came to represent, speak about, discuss, and own human rights in Britain. My framework of ‘human rights theatre’ proposes three distinctive features: firstly, such works dramatise real-world issues and highlights the role of the state in endangering its citizens; secondly, ethical ruptures are encountered within and without the drama, and finally, these performances characteristically aspire to produce an activist effect on the collective behaviours of the audience.
This thesis interrogates the strategies theatre-makers use to articulate human rights concerns or to animate human rights intent. The selected case-studies for this investigation are ice&fire’s testimonial project, Actors for Human Rights; Badac Theatre; Jonathan Holmes’ work as director of Jericho House; Cardboard Citizens’ youth participation programme, ACT NOW; and Tony Cealy’s Black Men’s Consortium. Deliberately selecting companies and performance events that have received limited critical attention, my methodology constellates case-studies through original interviews, durational observation of creative working methods and proximate descriptions of practice.
The thesis is interested in the experience of coming to ‘consciousness’ through human rights theatre, an awakening to the impacts of rights infringements and rights claiming. I explore consciousness as a processual, procedural, and durational happening in these performance events. I explore the ‘æffect’ of activist art and examine the ways in which makers of human rights theatre aim to amplify both affective and effective qualities in their work. My thesis also considers the articulation of activist purpose and the campaigning intent of the selected theatre-makers and explores how their activism is animated in their productions. Through the rich seam of discussion generated by the identification and exploration of the traits of a distinctive human rights theatre, I affirm the generative value of this typological enquiry
The geographies of care and training in the development of assistance dog partnerships
Human-assistance-dog partnerships form a significant phenomena that have been overlooked in both animal geographies and disability geographies. By focusing on one Assistance Dogs UK (ADUK) charity, ‘Dog A.I.D’., a charity that helps physically disabled and chronically ill people to train their own pets to be assistance dogs, I detail the intimate entangled lifeworlds that humans and dogs occupy. In doing so, I also dialogue between the sub-disciplinary fields of animal geographies and disability geographies, by exploring two broad thematic areas – embodiment and care. As such, this thesis examines the geographies of assistance dog partnership, the care and training practices involved, the benefits and challenges of sharing a lifeworld with a different species, and the changing relationship from a human-pet bond to a human-assistance-dog partnership.
Drawing on lived experience and representations of assistance dog partnerships gathered through qualitative (and quantitative) research methods, including a survey, semi-structured interviews (face-to-face, online, and telephone), video ethnography, and magazine analysis, I contribute to research on the assistance dog partnerships and growing debates around the more-than-human nature of care. The ethnomethodological approach to exploring how training occurs between disabled human and assistance dog is also noteworthy as it centres the lively experiences of practice at work between species.
The thesis is organised around interconnected themes: the intimate worlds of assistance dog partnerships, working bodies, and caring relations. These thematics allow for a geographical interpretation into the governance, spatial organisation, and representations of dog assistance partnerships. I also explore the training cultures of Dog A.I.D. whilst also spotlighting the lived experiences of training through the early stages of ‘socialisation’, ‘familiarisation’, ‘life skills training’, through to ‘task work’. Finally, the thesis focuses on the practices of care that characterise the assistance dog partnership, showing how care is provided and received by both human and nonhuman. I pay attention to the complex potentiality of the partnership, illustrating how dogs are trained to assist, but also how dogs appear to embody lively, agentic, moments of care. The thesis contributes original work which speaks to animal and disability geographies and attends to the multiple geographies of care-full cross-species lives
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