The Innocent Pleasure : A Study on Luther's theology of music

The aim of the study is to examine Luther s theology of music from the standpoint of pleasure. The theological assessment of musical pleasure is related to two further questions: the role of emotions in Christianity and the apprehension of beauty. The medieval discussion of these themes is portrayed in the background chapter. Significant traits were: the suspicion felt towards sensuous gratification in music, music as a mathematical discipline, the medieval theory of emotions informed by Stoic apatheia and Platonic-Aristotelian metriopatheia, the notion of beauty as an attribute of God, medieval aesthetics as the aesthetic of proportion and the aesthetic of light and the emergence of the Aristotelian view of science that is based on experience rather than speculation. The treatment of Luther s theology of music is initiated with the notion of gift. Luther says that music is the excellent (or even the best) gift of God. This has sometimes been understood as a mere music-lover s enthusiasm. Luther is, however, not likely to use the word gift loosely. His theology can be depicted as a theology of gift. The Triune God is categorically giving. The notion of gift also includes reciprocity. When we receive the gifts of God, it evokes praise in us. Praising God is predominantly a musical phenomenon. The particular benefit of music in Luther s thought is that it can move human emotions. This emphasis is connected to the overall affectivity of Luther s theology. In contrast to the medieval discussion, Luther ascribes to saints not just emotions but particularly warm and tender affections. The power of music is related to the auditory and vocal character of the Word. Faith comes through hearing the Word that is at once musical and affective perception. Faith is not a mere opinion but the affective trust of the heart. Music can touch the human heart and persuade with its sweetness, like the good news of the Gospel. Music allows us to perceive Luther s theology as a theology of joy and pleasure. Joy is for Luther a gift of the Holy Spirit that fills the heart and bursts out in voice and gestures. Pleasure appears to be a central aspect to Luther s theology. The problem of the Bondage of the Will is precisely the human inability to feel pleasure in God s will. To be pleased in the visible and tangible creation is not something a Christian should avoid. On the contrary, if one is not pleased with the world that God has created, it is a sign of unbelief and ingratitude. The pleasure of music is aesthetic perception. This in turn necessitates the investigation of Luther s aesthetics. Aesthetic evaluation is not just a part of Luther s thought. Eventually his theology as a whole could be portrayed in aesthetic terms. Luther s extremely positive appreciation of music illutrates his theology as an affective acknowledgement of the goodness of the Creation and faith as an aesthetic contentment.

Paganism, Traditionalism, Nationalism : Narratives of Russian Rodnoverie

The topic of this dissertation is Rodnoverie, a religion that revives pre-Christian Slavic spirituality. Rodnoverie has been noted to be one of the fastest growing new religions in Russia and the aim of the study is to analyse why and how the movement has attained its popularity. First, the analysis asks how Rodnovers themselves explain the revival of ancient Paganism at this particular historical moment. Secondly, these interpretations are reflected in the framework of sociological discussions about contemporary religiosity. The analysis discusses how the Rodnoverie movement corresponds to some tendencies that are considered to characterise late modern religiosity. The primary material of the research is Rodnoverie texts: books, newspapers and electronic articles. The published literature is supplemented by fieldwork material which includes interviews with some Rodnoverie leaders and the author s participant observation of rituals and gatherings. Methodologically, the study draws on a sociological narrative approach that is focused on examining how individuals and groups use narratives to construct their identities and to challenge mainstream discussions and interpretations. The analysis discerns three narratives. The first one of these portrays Rodnoverie as a revival of the native Russian or Slavic religion. The narrative provides a new version of the old Slavophile idea, according to which imitation of the West has misguided Russia and, therefore, Russians should turn to their own tradition. In the second narrative, Rodnoverie is presented as a nature religion that features tolerance and pluralistic values. According to these perceptions, the emergence of Rodnoverie marks the dead-end of the earlier hegemonic universalistic world-views, the mono-ideologies . While the nationalist narrative focuses on Russia s national heritage, the third narrative interprets the tradition in more universal terms as an alternative to modern values and way of life. The main argument of this narrative is that contemporary people have become alienated from nature, their roots and their community. The themes that are discussed in the theoretical literature on late modern religiosity often configure in Rodnovers interpretations either directly or when looked at through an analytical framework. Of the various themes that are addressed in a sociological study of religion the ones that have most relevance for Rodnoverie are the discussions on individualisation, globalisation and secularisation. Rodnoverie reflects such tendencies as the subjectivisation of religion and the modern crisis of authority. The movement also both exemplifies and actively promotes religious pluralisation in Russia.

Formale Aspekte dreier finnischsprachiger Untertitelungsversionen des Films Das Leben der Anderen und bei den Untertitelungen angewandte Übersetzungsstrategien

Työssä tutkitaan yhtäältä saksankielisen elokuvan Muiden elämä ( Das Leben der Anderen ) kolmen suomenkielisen tekstitysversion tekstityksen muotoseikkoja, kuten välimerkkien käyttöä, repliikki- ja rivijakoa, ja toisaalta tekstityksen sisältöseikkoja, joita tarkastellaan tekstityksessä käytettävien käännösstrategioiden avulla. Tutkielmassa tarkastellaan, ovatko tekstityksissä käytetyt muotoseikat konventioiden mukaisia ja minkälaisia käännösstrategioita tekstityksissä on käytetty sekä johtaako tietyn käännösstrategian käyttö merkityksen muutoksiin ja kaventumisiin tekstityksessä. Tutkielman aineistona on elokuva Muiden elämä ja sen kolme suomenkielistä tekstitystä: elokuvateattereissa esitetty versio, DVD-tekstitys ja televisiossa esitetty versio. Hypoteesina oli, että kaikkien versioiden muotoseikat ovat konventioiden mukaisia ja että versioilla on eroavuuksia ruututekstien määrässä ja repliikkijaossa. Lisäksi oletettiin, että tietyn käännösstrategian käytön ja merkityksen muutoksien välillä on yhteys, niin että merkityksen muutoksia esiintyy eniten silloin, kun kaikkea sanottua ei voida kääntää. Tutkielman teoriataustassa esitellään aluksi lyhyesti av-kääntämisen muita lajeja, kuten ns. dubbausta eli jälkiäänitystä, selostusta ja voice-overia, jonka jälkeen syvennytään tekstityksen teoriaan, tekstityksen muotoseikkoihin ja konventioihin sekä tekstityksen käännösstrategioihin. Tekstityksen sisältöseikkojen analyysin viitekehyksenä ovat Henrik Gottliebin (1994, 1997) kymmenen käännösstrategiaa: lisäys (engl. expansion), para-fraasi (paraphrase), suora käännös (transfer), imitaatio (imitation), transkriptio (transcription), siirtäminen (dislocation), tiivistäminen (condensation), lyhentäminen (decimation), poisjättäminen (deletion) ja resignaatio (resignation). Tutkielmassa analysoitiin kaikkien tekstitysversioiden muotoseikat. Tekstityksen sisältöseikkojen tutkimuksessa jokainen dialogin lause tai sivulause analysoitiin omana verbaalisena segmenttinään. Yhteensä analysoitiin 1311 verbaalista segmenttiä ja tutkittiin, mitä käännösstrategiaa missäkin tekstitysversiossa oli missäkin osakäännöksessä käytetty, sekä tarkasteltiin, muuttuuko repliikissä merkitys alkutekstiin verrattuna. Strategiat kuvataan ja niiden käyttöä valaistaan esimerkkien avulla. Tulokset ovat hypoteesia tukevia: Tutkielmassa havaittiin, että kaikkien tekstitysversioiden muotoseikat ovat suurimmalta osin konventioiden mukaisia. Eroja oli havaittavissa tavuviivan, pilkun ja kursiivin käytössä. Versiot eroavat myös ruututekstien määrässä: elokuvaversiossa on eniten ruututekstejä (1091), vaikka siinä on vähiten sanoja (3968); DVD-tekstityksessä on 876 ruututekstiä ja 4278 sanaa ja TV-tekstityksessä on 983 ruututekstiä ja 5293 sanaa. Eroavaisuudet selittyvät sillä, että elokuvatekstityksen ruututekstit ovat lyhyempiä ja nopeammin ilmestyviä kuin DVD- tai TV-tekstitysten. Tutkittu DVD-tekstitys on elokuvatekstityksen muokkaus, mistä johtuu sen vähäinen sana- ja ruututekstimäärä. Tutkielmassa havaittiin myös, että kaikissa versioissa yleisimmin käytetty käännösstrategia oli suora käännös, mutta TV-tekstityksessä sitä oli käytetty yli 50 %:ssa kaikista osakäännöksistä ja DVD- ja elokuvaversiossa yli 35 %:ssa, eli TV-tekstityksessä sitä oli käytetty huomattavasti enemmän kuin muissa versioissa. Lyhentämistä ja poisjättämistä oli DVD- ja elokuvatekstityksessä käytetty enemmän kuin TV-tekstityksessä. Nämäkin erot selit-tynevät elokuvatekstityksen pienemmällä tilalla ja tämän tekstityksen muokkaamisesta DVD-tekstitykseksi. Merkityksen muutoksia ja kaventumisia esiintyi eniten strategioiden poisjättäminen ja lyhentäminen yhteydessä, muiden strategioiden yhteydessä merkityksen muutoksia ja kaventumisia esiintyi vain marginaalisesti. Tulokset tukevat hypoteesia siitä, että merkitys muuttuu ja kaventuu eniten silloin, kun kaikkea sanottua ei voida kääntää.

Loud calls of male Nilgiri langurs (Presbytis johnii): Age-, individual-, and population-specific differences

Adult male Nilgiri langurs (Presbytis johnii) utter loud call bouts consisting of one or more phrases. Phrases are made up of several units showing similar or different structural features. The units involved differ with respect to not only their physical structure but also their overall utilization: three vocal patterns are uttered exclusively by mature males living in bisexual groups or all-male bands and, in addition to being part of loud call bouts, are given during encounters with terrestrial predators; two vocal patterns are uttered by males and females, again not just as constituents of loud calls; and one vocal pattern is given exclusively by mature males living in bisexual groups. Within a given bout, phrases differ not only with respect to their composition but also in their temporal organization. In addition to the acoustic components, loud calls are regularly accompanied by stereotyped motoric displays. The motoric and acoustic components of loud call displays appear independently of each other and at different times during ontogeny. The development of the display is characterized by combination of units with different structural features and synchronization of vocal and motoric components. Although more evidence is needed, our observations suggest that the development of loud call displays coincides with the aquisitation of social maturation and competence and requires not only social experience but also a certain amount of motoric training. In spite of the high degree of ritualization, loud call displays are not completely fixed in form, but instead are open to individual- and population-specific variation.

Epoch extraction from linear prediction residual for identification of closed glottis interval

In voiced speech analysis epochal information is useful in accurate estimation of pitch periods and the frequency response of the vocal tract system. Ideally, linear prediction (LP) residual should give impulses at epochs. However, there are often ambiguities in the direct use of LP residual since samples of either polarity occur around epochs. Further, since the digital inverse filter does not compensate the phase response of the vocal tract system exactly, there is an uncertainty in the estimated epoch position. In this paper we present an interpretation of LP residual by considering the effect of the following factors: 1) the shape of glottal pulses, 2) inaccurate estimation of formants and bandwidths, 3) phase angles of formants at the instants of excitation, and 4) zeros in the vocal tract system. A method for the unambiguous identification of epochs from LP residual is then presented. The accuracy of the method is tested by comparing the results with the epochs obtained from the estimated glottal pulse shapes for several vowel segments. The method is used to identify the closed glottis interval for the estimation of the true frequency response of the vocal tract system.

Tiedostumaton nykytaiteessa : Katse, ääni ja aika vuosituhannen taitteen suomalaisessa nykytaiteessa

Leevi Haapala explores moving image works, sculptures and installations from a psychoanalytic perspective in his study The Unconscious in Contemporary Art. The Gaze, Voice and Time in Finnish Contemporary Art at the Turn of the Millennium . The artists included in the study are Eija-Liisa Ahtila, Hans-Christian Berg, Markus Copper, Liisa Lounila and Salla Tykkä. The theoretical framework includes different psychoanalytic readings of the concepts of the gaze, voice and temporality. The installations are based on spatiality and temporality, and their detailed reading emphasizes the medium-specific features of the works as well as their fragmentary nature, heterogeneity and affectivity. The study is cross-disciplinary in that it connects perspectives from the visual culture, new art history and theory to the interpretation of contemporary art. The most important concepts from psychoanalysis, affect theory and trauma discourse used in the study include affect, object a (objet petit a) as articulated by Jacques Lacan, Sigmund Freud s uncanny (das Unheimliche) and trauma. Das Unheimliche has been translated as uncanny in art history under the influence of Rosalind Krauss. The object of the study, the unconscious in contemporary art, is approached through these concepts. The study focuses on Lacan s additions to the list of partial drives: the gaze and voice as scopic and invocative drives and their interpretations in the studies of the moving image. The texts by the American film theorist and art historian Kaja Silverman are in crucial role. The study locates contemporary art as part of trauma culture, which has a tendency to define individual and historical experiences through trauma. Some of the art works point towards trauma, which may appear as a theoretic or fictitious construction. The study presents a comprehensive collection of different kinds of trauma discourse in the field of art research through the texts of Hal Foster, Cathy Caruth, Ruth Leys and Shoshana Felman. The study connects trauma theory with the theoretical analysis of the interference and discontinuity of the moving image in the readings by Susan Buck-Morss, Mary Ann Doane and Peter Osborn among others. The analysis emphasizes different ways of seeing and multisensoriality in the reception of contemporary art. With their reflections and inverse projections, the surprising mechanisms of Hans-Christian Berg s sculptures are connected with Lacan s views on the early mirroring and imitation attempts of the individual s body image. Salla Tykkä s film trilogy Cave invites one to contemplate the Lacanian theory of the gaze in relation to the experiences of being seen. The three oceanic sculpture installations by Markus Copper are studied through the vocality they create, often through an aggressive way of acting, as well as from the point of view of the functioning of an invocative drive. The study compares the work of fiction and Freud s texts on paranoia and psychosis to Eija-Liisa Ahtila s manuscripts and moving image installations about the same topic. The cinematic time in Liisa Lounila s time-slice video installations is approached through the theoretical study of the unconscious temporal structure. The viewer of the moving image is inside the work in an in-between state: in a space produced by the contents of the work and its technology. The installations of the moving image enable us to inhabit different kinds of virtual bodies or spaces, which do not correspond with our everyday experiences. Nevertheless, the works of art often try to deconstruct the identification to what has been shown on screen. This way, the viewer s attention can be fixed on his own unconscious experiences in parallel with the work s deconstructed nature as representation. The study shows that contemporary art is a central cultural practice, which allows us to discuss the unconscious in a meaningful way. The study suggests that the agency that is discursively diffuse and consists of several different praxes should be called the unconscious. The emergence of the unconscious can happen in two areas: in contemporary art through different senses and discursive elements, and in the study of contemporary art, which, being a linguistic activity is sensitive to the movements of the unconscious. One of the missions of art research is to build different kinds of articulated constructs and to open an interpretative space for the nature of art as an event.

Carnatic music analysis: Shadja, swara identification and rAga verification in AlApana using stochastic models

We analyze the AlApana of a Carnatic music piece without the prior knowledge of the singer or the rAga. AlApana is ameans to communicate to the audience, the flavor or the bhAva of the rAga through the permitted notes and its phrases. The input to our analysis is a recording of the vocal AlApana along with the accompanying instrument. The AdhAra shadja(base note) of the singer for that AlApana is estimated through a stochastic model of note frequencies. Based on the shadja, we identify the notes (swaras) used in the AlApana using a semi-continuous GMM. Using the probabilities of each note interval, we recognize swaras of the AlApana. For sampurNa rAgas, we can identify the possible rAga, based on the swaras. We have been able to achieve correct shadja identification, which is crucial to all further steps, in 88.8% of 55 AlApanas. Among them (48 AlApanas of 7 rAgas), we get 91.5% correct swara identification and 62.13% correct R (rAga) accuracy.

Zero-phase inverse filtering for extraction of source characteristics

The instants at which significant excitation of vocal tract take place during voicing are referred to as epochs. Epochs and strengths of excitation pulses at epochs are useful in characterizing voice source. Epoch filtering technique proposed by the authors determine epochs from speech waveform. In this paper we propose zero-phase inverse filtering to obtain strengths of excitation pulses at epochs. Zero-phase inverse filter compensates the gross spectral envelope of short-time spectrum of speech without affecting phase characteristics. Linear prediction analysis is used to realize the zero-phase inverse filter. Source characteristics that can be derived from speech using this technique are illustrated with examples.

A Scalable Architecture for VoIP Conferencing

Real-Time services are traditionally supported on circuit switched network. However, there is a need to port these services on packet switched network. Architecture for audio conferencing application over the Internet in the light of ITU-T H.323 recommendations is considered. In a conference, considering packets only from a set of selected clients can reduce speech quality degradation because mixing packets from all clients can lead to lack of speech clarity. A distributed algorithm and architecture for selecting clients for mixing is suggested here based on a new quantifier of the voice activity called “Loudness Number” (LN). The proposed system distributes the computation load and reduces the load on client terminals. The highlights of this architecture are scalability, bandwidth saving and speech quality enhancement. Client selection for playing out tries to mimic a physical conference where the most vocal participants attract more attention. The contributions of the paper are expected to aid H.323 recommendations implementations for Multipoint Processors (MP). A working prototype based on the proposed architecture is already functional.

A finite-rate-of-innovation signal sampling perspective of the source-filter model of speech production

We consider the speech production mechanism and the asso- ciated linear source-filter model. For voiced speech sounds in particular, the source/glottal excitation is modeled as a stream of impulses and the filter as a cascade of second-order resonators. We show that the process of sampling speech signals can be modeled as filtering a stream of Dirac impulses (a model for the excitation) with a kernel function (the vocal tract response),and then sampling uniformly. We show that the problem of esti- mating the excitation is equivalent to the problem of recovering a stream of Dirac impulses from samples of a filtered version. We present associated algorithms based on the annihilating filter and also make a comparison with the classical linear prediction technique, which is well known in speech analysis. Results on synthesized as well as natural speech data are presented.

Sustaining cooperation on networks: an analytical study based on evolutionary game theory

We analytically study the role played by the network topology in sustaining cooperation in a society of myopic agents in an evolutionary setting. In our model, each agent plays the Prisoner's Dilemma (PD) game with its neighbors, as specified by a network. Cooperation is the incumbent strategy, whereas defectors are the mutants. Starting with a population of cooperators, some agents are switched to defection. The agents then play the PD game with their neighbors and compute their fitness. After this, an evolutionary rule, or imitation dynamic is used to update the agent strategy. A defector switches back to cooperation if it has a cooperator neighbor with higher fitness. The network is said to sustain cooperation if almost all defectors switch to cooperation. Earlier work on the sustenance of cooperation has largely consisted of simulation studies, and we seek to complement this body of work by providing analytical insight for the same. We find that in order to sustain cooperation, a network should satisfy some properties such as small average diameter, densification, and irregularity. Real-world networks have been empirically shown to exhibit these properties, and are thus candidates for the sustenance of cooperation. We also analyze some specific graphs to determine whether or not they sustain cooperation. In particular, we find that scale-free graphs belonging to a certain family sustain cooperation, whereas Erdos-Renyi random graphs do not. To the best of our knowledge, ours is the first analytical attempt to determine which networks sustain cooperation in a population of myopic agents in an evolutionary setting.

Demodulation of Narrowband Speech Spectrograms Using the Riesz Transform

We propose a two-dimensional (2-D) multicomponent amplitude-modulation, frequency-modulation (AM-FM) model for a spectrogram patch corresponding to voiced speech, and develop a new demodulation algorithm to effectively separate the AM, which is related to the vocal tract response, and the carrier, which is related to the excitation. The demodulation algorithm is based on the Riesz transform and is developed along the lines of Hilbert-transform-based demodulation for 1-D AM-FM signals. We compare the performance of the Riesz transform technique with that of the sinusoidal demodulation technique on real speech data. Experimental results show that the Riesz-transform-based demodulation technique represents spectrogram patches accurately. The spectrograms reconstructed from the demodulated AM and carrier are inverted and the corresponding speech signal is synthesized. The signal-to-noise ratio (SNR) of the reconstructed speech signal, with respect to clean speech, was found to be 2 to 4 dB higher in case of the Riesz transform technique than the sinusoidal demodulation technique.

An Alternating l(p) - l(2) Projections Algorithm (ALPA) for Speech Modeling using Sparsity Constraints

We address the problem of separating a speech signal into its excitation and vocal-tract filter components, which falls within the framework of blind deconvolution. Typically, the excitation in case of voiced speech is assumed to be sparse and the vocal-tract filter stable. We develop an alternating l(p) - l(2) projections algorithm (ALPA) to perform deconvolution taking into account these constraints. The algorithm is iterative, and alternates between two solution spaces. The initialization is based on the standard linear prediction decomposition of a speech signal into an autoregressive filter and prediction residue. In every iteration, a sparse excitation is estimated by optimizing an l(p)-norm-based cost and the vocal-tract filter is derived as a solution to a standard least-squares minimization problem. We validate the algorithm on voiced segments of natural speech signals and show applications to epoch estimation. We also present comparisons with state-of-the-art techniques and show that ALPA gives a sparser impulse-like excitation, where the impulses directly denote the epochs or instants of significant excitation.

Automatic transcription of conversational telephone speech

This paper discusses the Cambridge University HTK (CU-HTK) system for the automatic transcription of conversational telephone speech. A detailed discussion of the most important techniques in front-end processing, acoustic modeling and model training, language and pronunciation modeling are presented. These include the use of conversation side based cepstral normalization, vocal tract length normalization, heteroscedastic linear discriminant analysis for feature projection, minimum phone error training and speaker adaptive training, lattice-based model adaptation, confusion network based decoding and confidence score estimation, pronunciation selection, language model interpolation, and class based language models. The transcription system developed for participation in the 2002 NIST Rich Transcription evaluations of English conversational telephone speech data is presented in detail. In this evaluation the CU-HTK system gave an overall word error rate of 23.9%, which was the best performance by a statistically significant margin. Further details on the derivation of faster systems with moderate performance degradation are discussed in the context of the 2002 CU-HTK 10 × RT conversational speech transcription system. © 2005 IEEE.

Exposición y crítica de la ética de Clemente de Alejandría

Resumen: En este artículo, el autor expone la ética de san Clemente de Alejandría recurriendo principalmente a El Pedagogo y al Protréptico. Da especial importancia a conceptos como salvación, libre albedrío, consejo, imitación, entre otros. Después, el autor realiza una crítica buscando retomar algunas tesis que pueden mantener cierta vigencia para el planteamiento de una ética hodierna, buscando que esta última sea filosófica. Pero es importante tener presente que la ética por naturaleza recurre a la tradición, de la cual se alimenta para elaborar su reflexión filosófica. En otras palabras, la ética no parte desde el vacío, sino en el seno de una tradición, uno de cuyos representantes y constructores, en el contexto del mundo occidental, es Clemente de Alejandría.