Shouting affects temporal properties of the speech amplitude envelope

Distinguishing shouted from non-shouted speech is crucial in communication. We examined how shouting affects temporal properties of the amplitude envelope (ENV) in a total of 720 sentences read by 18 Swiss German speakers in normal and shouted modes; shouting was characterised by maintaining sound pressure levels of ≥80 dB sound pressure level (dB-SPL) (C-weighted) at a 1-meter distance from the mouth. Generalized additive models revealed significant temporal alterations of ENV in shouted speech, marked by steeper ascent, delayed peak, and extended high levels. These findings offer potential cues for identifying shouting, particularly useful when fine-structure and dynamic range cues are absent, for example, in cochlear implant users

A longitudinal study of intonation in an a cappella singing quintet

Objective The skill to control pitch accurately is an important feature of performance in singing ensembles as it boosts musical excellence. Previous studies analyzing single performance sessions provide inconclusive and contrasting results on whether singers in ensembles tend to use a tuning system which deviates from equal temperament for their intonation. The present study observes the evolution of intonation in a newly formed student singing quintet during their first term of study. Methods/Design A semiprofessional singing quintet was recorded using head-worn microphones and electrolaryngograph electrodes to allow fundamental frequency (fo) evaluation of the individual voices. In addition, a camcorder was used to record verbal interactions between singers. The ensemble rehearsed a homophonic piece arranged for the study during five rehearsal sessions over four months. Singers practiced the piece for 10 minutes in each rehearsal, and performed three repetitions of the same pieces pre-rehearsal and post-rehearsal. Audio and electrolaryngograph data of the repeated performances, and video recordings of the rehearsals were analyzed. Aspects of intonation were then measured by extracting the fo values from the electrolaryngograph and acoustic signal, and compared within rehearsals (pre and post) and between rehearsals (rehearsals 1 to 5), and across repetitions (take 1 to 3). Time-stamped transcriptions of rehearsal discussions were used to identify verbal interactions related to tuning, the tuning strategies adopted, and their location (bar or chord) within the piece. Results/Discussion Tuning of each singer was closer to equal temperament than just intonation, but the size of major thirds was slightly closer to just intonation, and minor thirds closer to equal temperament. These findings were consistent within and between rehearsals, and across repetitions. Tuning was highlighted as an important feature of rehearsal during the study term, and a range of strategies were adopted to solve tuning related issues. This study provides a novel holistic assessment of tuning strategies within a singing ensemble, furthering understanding of performance practices as well as revealing the complex approach needed for future research in this area. These findings are particularly important for directors and singers to tailor rehearsal strategies that address tuning in singing ensembles, showing that approaches need to be context driven rather than based on theoretical ideal

A CRITICAL STUDY IN THE COMPLEX-POLYMORPHOUS GENUS SCHIMA (THEACEAE)

 1. The author considers the genus Schima monotypic. Its only species, Schima wallichii (DC.) Korth., is subdivided into nine geographically separated subspecies and three varieties.These may be recognised sometimes by one dominating chax*acter,mostly, however, by a complex of characters.Several new combinations are made.2. Yet the variability of most of the subspecies is still often enormous and at first sight appears complex. Thus we may often encounter the polymorphy of the whole species in its subspecies again. It was the striking different percentage-numbers of(phenotypically) about the same characters which turned the scale in favour of the recognition of the subspecies, besides their geographic separation.The attempts made by the author to divide certain resulting complex-polymorphous subspecies into units of still lower rank and to trace correlations with peculiarities of environment such as different heights above sealevel, or with different stages in the age of the trees, failed. 3. On account of these negative results and the above mentioned different percentage-numbers for phenotypically about the same characters, the author came to the conclusion that the most probable explanation is that the variability within the subspecies is just due to Mendel-segregation and nothing else.It looks very much as if one is dealing here with the inheriting of striking characters, each caused by one or only a few polymeric factors, characters which hold their own, just as in panmictlcally propagated populations (by cross-pollination). This explanation, too,makes the striking fact that in some subspecies we find back phenotypically the whole, or part, of the polymorphy of the entire species more understandable, as well as the fact that individuals of different subspecies may agree phenotypically, whereas genotypically they belong to different races (subspecies), Moreover, all these phenomena strongly support the monotypic conception of the genus. 4. The author saw few examples from the area outside Indonesia. However,this does neither influence his monotypic conception of the genus, nor his method of dividing it into units of lower ranks. The study of the scanty amount of specimens,literature, and the drawings seen appeared more than sufficiently convincing. Yet he is not quite certain whether the correct rank was ascribed to some of the lower taxa involved. It would perhaps have been advisable to consider the variety superba and the continental parts of the subspecies oblata and monticola as distinct subspecies.Future consideration of this matter shall have to decide

Speech produced in noise: Relationship between listening difficulty and acoustic and durational parameters.

Conversational speech produced in noise can be characterised by increases in intelligibility relative to such speech produced in quiet. Listening difficulty (LD) is a metric that can be used to evaluate speech transmission performance more sensitively than intelligibility scores in situations in which performance is likely to be high. The objectives of the present study were to evaluate the LD of speech produced in different noise and style conditions, to evaluate the spectral and durational speech modifications associated with these conditions, and to determine whether any of the spectral and durational parameters predicted LD. Nineteen subjects were instructed to speak at normal and loud volumes in the presence of background noise at 40.5 dB(A) and babble noise at 61 dB(A). The speech signals were amplitude-normalised, combined with pink noise to obtain a signal-to-noise ratio of -6 dB, and presented to twenty raters who judged their LD. Vowel duration, fundamental frequency and the proportion of the spectral energy in high vs low frequencies increased with the noise level within both styles. LD was lowest when the speech was produced in the presence of high level noise and at a loud volume, indicating improved intelligibility. Spectrum balance was observed to predict LD

Myofascial release effects in teachers' posture, muscle tension and voice quality: a randomized controlled trial

Summary: Objective. Myofascial release (MFR) comprises a set of manual therapeutic techniques applied to many conditions, but specific evidence concerning its effects on body posture, muscle tension and voice has been lacking. Thus, the aim of this study was to verify the effects of MFR in teachers’ posture, muscular tension and voice quality. Study Design. Randomized controlled trial − crossover. Methods. Twenty-four teachers, after completing a Sociodemographic and Clinical Questionnaire and providing written informed consent, were randomly distributed into two groups designated Group 1 (G1; n = 12; received MFR first) and Group 2 (G2; n = 12; belong to control group first). All participants received treatment and were into control group, since, after a 14 day period, procedures were switched between groups. Photogrammetry, muscle tension assessed through palpation, algometry, aerodynamic assessment of voice, acoustic and auditory-perceptual analysis of voice were performed before and after interventions. Results. Regarding voice, statistically significant differences were found when intervention was applied to both groups for maximum phonation time (MPT) (G1 P = 0.019; G2 P = 0.004). The acoustic variables did not differ. Concerning the auditory-perceptual analysis of voice statistically significant differences were found when intervention was applied in both groups for Grade in G2 (P = 0.046) and for Roughness in G1 (P = 0.025). Regarding the photogrammetry assessment statistically significant differences were found when intervention was applied to both groups in many parameters while as control group they did not. Concerning the algometry and muscle tension assessed through palpation statistically significant differences were found when intervention was applied in all muscles. Conclusions. Findings indicated that MFR seems to be an effective therapy in improving MPT, two subscales (Grade and Roughness) of the GRABASH scale, muscle tension assessed through palpation and algometry. Regarding photogrammetry, MFR had an immediately effect in improvement of the posture, especially related with head.info:eu-repo/semantics/publishedVersio

Sketching sound with voice and gesture

Voice and gestures are natural sketching tools that can be exploited to communicate sonic interactions. In product and interaction design, sounds should be included in the early stages of the design process. Scientists of human motion have shown that auditory stimuli are important in the performance of difficult tasks and can elicit anticipatory postural adjustments in athletes. These findings justify the attention given to sound in interaction design for gaming, especially in action and sports games that afford the development of levels of virtuosity. The sonic manifestations of objects can be designed by acting on their mechanical qualities and by augmenting the objects with synthetic and responsive sound

State Normal School Journal, April 14, 1922

This issue includes articles about an upcoming senior edited issue, the opinion of the chairman of the appointment committee that bobbed haircuts do not inspire confidence or authority, the IETA meeting in Spokane, and the use of dance and song to teach health.https://dc.ewu.edu/student_newspapers/1279/thumbnail.jp

Morphological studies in ternstroemiaceae

This paper gives a detailed description of the development of the flower parts in certain types of Ternstroemiaceae. The types studied are the following:-SAURAUJA SUBSPINOSA, ANTH. STACHYURUS,CHINESISf,FRANCH. CAMELLIA CUSPIDATA, COHEN STUART. VERNSTROEMIA JAPONICA, THUMB. VISNEA MOCANERA, LINN.The main points brought out may be summarised as follows. The perianth shows a general tendency to be spiral in origin, resulting in the imbrication of the parts in the bud. The flowers are fundamentally diplostemonous despite the fact that an indefinite number of stamens is usually found in the fully developed flower.The syncarpoua ovary of 2 -5 cells with axile placentation is formed by the early fusing of separate carpels at their edges; the fused carpels than grow inwards to the centre where they meet and fuse to form the central column of the ovary

Sketching sound with voice and gesture

Insights: In product and interaction design, sounds should be included in the early stages of the design process. Voice and gestures are natural sketching tools that we can exploit to communicate sonic interactions