Imagerie Musicale Involontaire : caractéristiques phénoménologiques et mnésiques

L’imagerie musicale involontaire (IMIN) est un phénomène mental extrêmement commun. Il peut être défini en tant que type d’imagerie mentale musicale qui devient consciente sans effort ou intentionnalité et qui n’est pas pathologique. La forme la plus connue d’IMIN est le « ver d’oreille », qui se présente généralement comme un court extrait musical tournant en boucle en tête et dont on se débarrasse difficilement. L’objectif principal de la présente thèse est d’investiguer les mécanismes cognitifs sous-tendant le phénomène puisque, malgré l’intérêt répandu dans les médias populaires, son étude expérimentale est récente et un modèle intégré n’a pas encore été proposé. Dans la première étude, l’induction expérimentale a été tentée et les caractéristiques des images mentales d’épisodes d’IMIN ont été investiguées. Dans le laboratoire, des chansons accrocheuses (versus des proverbes) ont été présentées répétitivement aux participants qui devaient ensuite les chanter le plus fidèlement possible. Ils ont par après quitté le laboratoire, une enregistreuse numérique en mains, avec la consigne d’enregistrer une reproduction vocale la plus fidèle possible de ce qu’ils avaient en tête lors de tous leurs épisodes d’IMIN sur une période de quatre jours, ainsi que de décrire leur timbre. L’expérience a été répétée deux semaines plus tard. Douze des dix-huit participants du groupe expérimental ont rapporté des pièces induites comme épisodes d’IMIN, ce qui confirme l’efficacité de la procédure d’induction. La tonalité et le tempo des productions ont ensuite été analysés et comparés à ceux des pièces originales. Similairement pour les épisodes d’IMIN induits et les autres, les tempi produits et, dans une moindre mesure pour les non-musiciens, les tonalités étaient proches des originaux. Le timbre décrit était généralement une version simplifiée de l’original (un instrument et/ou une voix). Trois études se sont ensuite intéressées au lien entre le potentiel d’IMIN et la mémorabilité. Dans une étude préliminaire, 150 chansons du palmarès francophone radiophonique ont été évaluées en ligne par 164 participants, sur leur niveau de familiarité, d’appréciation et de potentiel d’IMIN. Les pièces ont ensuite été divisées en groupes de stimuli à faible et à fort potentiel d’IMIN, qui ont été utilisés dans une tâche typique de rappel libre/reconnaissance, premièrement avec des francophones (pour qui les pièces étaient familières) et ensuite avec des non-francophones (pour qui les pièces étaient non-familières). Globalement, les pièces à fort potentiel d’IMIN étaient mieux rappelées et reconnues que les pièces à faible potentiel. Une dernière étude a investigué l’impact de la variabilité inter-stimulus du timbre sur les résultats précédents, en demandant à une chanteuse d’enregistrer les lignes vocales des pièces et en répétant l’expérience avec ces nouveaux stimuli. La différence précédemment observée entre les stimuli à fort et à faible potentiel d’IMIN dans la tâche de reconnaissance a ainsi disparu, ce qui suggère que le timbre est une caractéristique importante pour le potentiel d’IMIN. En guise de conclusion, nous suggérons que les phénomènes mentaux et les mécanismes cognitifs jouant un rôle dans les autres types de souvenirs involontaires peuvent aussi s’appliquer à l’IMIN. Dépendamment du contexte, la récupération mnésique des pièces peut résulter de la répétition en mémoire à court terme, de l’amorçage à court et long terme ou de l’indiçage provenant de stimuli dans l’environnement ou les pensées. Une des plus importantes différences observables entre l’IMIN et les autres souvenirs involontaires est la répétition. Nous proposons que la nature même de la musique, qui est définie par la répétition à un niveau micro- et macro-structurel en est responsable.

A VOICE OF THEIR OWN: MUSIC AND SOCIAL COHESION IN TURKISH ALEVI LIFE

This dissertation examines the role that music has played in the expression of identity and revitalization of culture of the Alevis in Turkey, since the start of their sociocultural revival movement in the late 1980s. Music is central to Alevi claims of ethnic and religious difference—singing and playing the bağlama (Turkish folk lute) constitutes an expressive practice in worship and everyday life. Based on research conducted from 2012 to 2014, I investigate and present Alevi music through the lens of discourses on the construction of identity as a social and musical process. Alevi musicians perform a revived repertoire of the ritual music and folk songs of Anatolian bards and dervish-lodge poets that developed over several centuries. Contemporary media and performance contexts have blurred former distinctions between sacred and secular, yet have provided new avenues to build community in an urban setting. I compare music performances in the worship services of urban and small-town areas, and other community events such as devotional meetings, concerts, clubs, and broadcast and social media to illustrate the ways that participation—both performing and listening—reinforces identity and solidarity. I also examine the influence of these different contexts on performers’ musical choices, and the power of music to evoke a range of responses and emotional feelings in the participants. Through my investigation I argue that the Alevi music repertoire is not only a cultural practice but also a symbol of power and collective action in their struggle for human rights and self-determination. As Alevis have faced a redefined Turkish nationalism that incorporates Sunni Muslim piety, this music has gained even greater potency in their resistance to misrecognition as a folkloric, rather than a living, tradition.

Modeling perspective for the relevant market of voice services: mobile to mobile

Los mercados asociados a los servicios de voz móvil a móvil, brindados por operadoras del Sistema Móvil Avanzado en Latinoamérica, han estado sujetos a procesos regulatorios motivados por la dominancia en el mercado de un operador, buscando obtener óptimas condiciones de competencia. Específicamente en Ecuador, la Superintendencia de Telecomunicaciones (Organismo Técnico de Control de Telecomunicaciones) desarrolló un modelo para identificar acciones de regulación que puedan proporcionar al mercado efectos sostenibles de competencia en el largo plazo. Este artículo trata sobre la aplicación de la ingeniería de control para desarrollar un modelo integral del mercado, empleando redes neuronales para la predicción de trarifas de cada operador y un modelo de lógica difusa para predecir la demanda. Adicionalmente, se presenta un modelo de inferencia de lógica difusa para reproducir las estrategias de mercadeo de los operadores y la influencia sobre las tarifas. Dichos modelos permitirían la toma adecuada de decisiones y fueron validados con datos reales.

Réactions des bébés au chant et à la parole : impacts sur l’attention et l’affect

Les parents à travers le monde chantent et parlent à leurs bébés. Ces deux types de vocalisations aux enfants préverbaux partagent plusieurs similarités de même que des différences, mais leurs conséquences sur les bébés demeurent méconnues. L’objectif de cette thèse était de documenter l’efficacité relative du chant et de la parole à capter l’attention des bébés sur de courtes périodes de temps (Étude 1) ainsi qu’à réguler l’affect des bébés en maintenant un état de satisfaction sur une période de temps prolongée (Étude 2). La première étude a exploré les réactions attentionnelles des bébés exposés à des enregistrements audio non familiers de chant et de parole. Lors de l’expérience 1, des bébés de 4 à 13 mois ont été exposés à de la parole joyeuse s’adressant au bébé (séquences de syllabes) et des berceuses fredonnées par la même femme. Ils ont écouté significativement plus longtemps la parole, qui contenait beaucoup plus de variabilité acoustique et d’expressivité que les berceuses. Dans l’expérience 2, des bébés d’âges comparables n’ont montré aucune écoute différentielle face à une version parlée ou chantée d’une chanson pour enfant turque, les deux versions étant exprimées de façon joyeuse / heureuse. Les bébés de l’expérience 3, ayant entendu la version chantée de la chanson turque ainsi qu’une version parlée de façon affectivement neutre ou s’adressant à l’adulte, ont écouté significativement plus longtemps la version chantée. Dans l’ensemble, la caractéristique vocale joyeuse plutôt que le mode vocal (chanté versus parlé) était le principal déterminant de l’attention du bébé, indépendamment de son âge. Dans la seconde étude, la régulation affective des bébés a été explorée selon l’exposition à des enregistrements audio non familiers de chant ou de parole. Les bébés ont été exposés à du chant ou de la parole jusqu’à ce qu’ils rencontrent un critère d’insatisfaction exprimée dans le visage. Lors de l’expérience 1, des bébés de 7 à 10 mois ont écouté des enregistrements de paroles s’adressant au bébé, de paroles s’adressant à l’adulte ou du chant dans une langue non familière (turque). Les bébés ont écouté le chant près de deux fois plus longtemps que les paroles avant de manifester de l’insatisfaction. Lors de l’expérience 2, des bébés ont été exposés à des enregistrements de paroles ou de chants issus d’interactions naturelles entre la mère et son bébé, dans une langue familière. Comme dans l’expérience 1, le chant s’adressant au bébé était considérablement plus efficace que les paroles pour retarder l’apparition du mécontentement. La construction temporelle du chant, avec notamment son rythme régulier, son tempo stable et ses répétitions, pourrait jouer un rôle important dans la régulation affective, afin de soutenir l’attention, rehausser la familiarité ou promouvoir l’écoute prédictive et l’entraînement. En somme, les études présentées dans cette thèse révèlent, pour la première fois, que le chant est un outil parental puissant, tout aussi efficace que la parole pour capter l’attention et plus efficace que la parole pour maintenir les bébés dans un état paisible. Ces découvertes soulignent l’utilité du chant dans la vie quotidienne et l’utilité potentielle du chant dans des contextes thérapeutiques variés impliquant des bébés.

The effects of ILFN-exposure on voice acoustic parameters of commercial cabin crewmembers

Background: Long-term exposure to infrasound and low frequency noise (ILFN <500 Hz, including infrasound) can lead to the development of vibroacoustic disease (VAD). VAD is a systemic pathology characterized by the abnormal growth of extracellular matrices in the absence of inflammatory processes, namely of collagen and elastin, both of which are abundant in the basement membrane zone of the vocal folds. ILFN-exposed workers include pilots, cabin crewmembers, restaurant workers, ship machinists and, in previous studies, even though they did not present vocal symptoms, ILFN-exposed workers had significant different voice acoustic patterns (perturbation and temporal measures) when compared with normative population. Study Aims: The present study investigates the effects of age and years of occupational ILFN-exposure on voice acoustic parameters of 37 cabin crewmembers: 12 males and 25 females. Specifically, the goals of this study are to: 1) Verify if acoustic parameters change over the age and years of ILFN-exposure and 2) Determine if there is any interaction between age and years of ILFNexposure on voice acoustic parameters of crewmembers. Materials and Methods: Spoken phonatory tasks were recorded with a C420III PP AKG head-worn microphone and a DA-P1 Tascam DAT. Acoustic analyses were performed using KayPENTAX Computer Speech Lab and Multi-Dimensional Voice Program. Acoustic parameters included speaking fundamental frequency, perturbation measures (jitter, shimmer and harmonicto- noise ratio), temporal measures (maximum phonation time and s/z ratio) and voice tremor frequency. Results: One-way ANOVA analysis revealed that as the number of ILFN-exposure years increased male cabin crewmembers presented significant different shimmer values of /i/ as well as tremor frequency of /u/. Females presented significantly different jitter % of /i, a, O/ (p <0.05). Lastly, Two-way ANOVA analysis revealed that for females, there was a significant interaction between age and occupational ILFN-exposure for voice acoustic parameters, namely for jitter’s mean for /a, O/ and shimmer’s (%) mean for /a, i/ (p <0.05). Discussion and Conclusion: These perturbation measure patterns may be indicative of histological changes within the vocal folds as a result of ILFN-exposure. The results of this study suggest that voice acoustic analysis may be an important tool for confirming ILFN-induced health effects.

Voice acoustic profi le of males exposed to occupational infrasound and low-frequency noise

Background: Vibroacoustic disease (VAD) is a systematic pathology characterized by the abnormal growth of extra-cellular matrices in the absence of infl ammatory processes, namely collagen and elastin, both of which are abundant in the basement membrane zone of the vocal folds. VAD can develop due to long-term exposure to infrasound and low-frequency noise (ILFN, <500 Hz). Mendes et al. (2006, 2008 and 2012) revealed that ILFN-exposed males and females presented an increased fundamental frequency (F0), decreased jitter %, and reduced maximum phonation frequency range, when compared with normative data. Temporal measures of maximum phonation time and S/Z ratio were generally reduced. Study Aims: Herein, the same voice acoustic parameters of 48 males, 36 airline pilots and 12 cabin crewmembers (age range 25-60 years) were studied, and the effects and interaction of age and years of ILFN exposure were investigated within those parameters. ILFN-exposure time (i.e. years of professional activity) ranged from 3.5 to 36 years. Materials and Methods: Spoken and sung phonatory tasks were recorded with a DA-P1 Tascam DAT and a C420III PP AKG head-worn microphone, positioned at 3 cm from the mouth. Acoustic analyses were performed using KayPENTAX Computer Speech Lab and Multi-Dimensional Voice Program. Results: Results revealed that even though pilots and cabin crewmembers were exposed to occupational environments with distinct (ILFN-rich) acoustical frequency distributions and sound pressure levels, differences in the vocal acoustic parameters were not evident. Analyzing data from both professional groups (N = 48) revealed that F0 increased signifi cantly with the number of years of professional activity. Conclusion: These results strongly suggest that the number of years of professional activity (i.e. total ILFN exposure time) had a signifi cant effect on F0. Furthermore, they may refl ect the histological changes specifi cally observed on the vocal folds of ILFN-exposed professionals.

Exit, voice, loyalty: a supplier’s perspective

Hirschman (1970) suggests that every member of a group can influence the group by either expressing their voice or exiting the group. Subsequent research has looked at exit-voice-loyalty from the supplier-retailer perspective (Blois, 2008). This paper takes an overview of the wholesaler-retailer relationship in the UK convenience sector; it considers how their approach to exit-voice-loyalty may be affecting the wholesalers’ turnover. The results of the research suggest that the wholesalers do not use cost of exit or enabling retailer voice exclusively; instead they now tend to combine both within their retailer relationship strategies.

O ator que canta um conto: a manipulação de parâmetros musicais na voz do ator

This research started with an investigation about the theatrical speaking. Through an empirical methodology that analyzed a practical experience of creating a play and bibliographical research, the actress/researcher investigated ways to manipulate musical parameters as tools in the creation process of the actor s voice. The actress/researcher attempted to connect theory and practice, moved by the desire to find a vocal expression in theater that unfolds as living and transforming movement. This dissertation also contains the report of pedagogical experiences, in which the actress/researcher explored strategies to teach the appropriation of musical parameters in the construction of the vocal work of the actor. Considering that speaking in theater is closer to singing than everyday speech, she concluded that the actor may compose music as a music composer does in the elaborating process of building vocal scores. Therefore, she demonstrated that it is of fundamental importance a musical training in the development of the actor.

Using dysphonic voice to characterize speaker's biometry

Phonation distortion leaves relevant marks in a speaker's biometric profile. Dysphonic voice production may be used for biometrical speaker characterization. In the present paper phonation features derived from the glottal source (GS) parameterization, after vocal tract inversion, is proposed for dysphonic voice characterization in Speaker Verification tasks. The glottal source derived parameters are matched in a forensic evaluation framework defining a distance-based metric specification. The phonation segments used in the study are derived from fillers, long vowels, and other phonation segments produced in spontaneous telephone conversations. Phonated segments from a telephonic database of 100 male Spanish native speakers are combined in a 10-fold cross-validation task to produce the set of quality measurements outlined in the paper. Shimmer, mucosal wave correlate, vocal fold cover biomechanical parameter unbalance and a subset of the GS cepstral profile produce accuracy rates as high as 99.57 for a wide threshold interval (62.08-75.04%). An Equal Error Rate of 0.64 % can be granted. The proposed metric framework is shown to behave more fairly than classical likelihood ratios in supporting the hypothesis of the defense vs that of the prosecution, thus ofering a more reliable evaluation scoring. Possible applications are Speaker Verification and Dysphonic Voice Grading.

Giving Voice to Voiceless: Engaging Urban Youth for Possibilities

This symposium will discuss the expansion of The Education Effect – Booker T. Washington, as a university community school partnership designed to engage urban youth for college and career readiness. The partnership is focused on developing collective impact and capacity for academic achievement, social success and college completion. The partnership aligns university expertise, resources and evidenced based strategies to address educational needs through the improvement of teaching and learning; increase graduation rate and parental involvement.

UW School of Music presents a Voice Division Recital November 28, 2016

Concert Program

Cage & Partch with Luke Fitzpatrick Adapted Viola, Intoning Voice and Violin December 2, 2016

Concert Program

Estudo e análise técnica e interpretativa do papel principal de tenor nas óperas Lucia di Lammermoor (Edgardo) e L' Elisir d' Amore (Nemorino) de Gaetano Donizetti

Nesta dissertação pretendemos analisar a interpretação do papel do tenor nas óperas Lucia di Lammermoor e L´Elisir d´Amore de Gaetano Donizetti, estudando os principais fatores que influenciaram a interpretação do papel do tenor e como esta mudou ao longo dos anos, por comparação de gravações destas óperas com 50 anos de intervalo entre si. O período do bel canto está associado à linha de canto ornamentada para exprimir emoções, o que, em conjunto com outros aspetos, fez com que a voz de tenor passasse a ter uma emissão distinta, especialmente no registo agudo. O contexto histórico e musical desta época, bem como os desenvolvimentos técnicos que se verificaram, influenciaram a forma de cantar e introduziram o tenor como papel principal nas óperas, com todos os desafios de cantar na zona de passagem, de domínio da respiração e de respeito pelas diversas formas de expressão musical que os compositores do período do bel canto usavam como veículos de interpretação e expressão dos sentimentos. A escolha destas duas óperas de Donizetti assenta num gosto pessoal e no meu interesse em estudar os contrastes dos personagens Edgardo e Nemorino, que são apresentados nesta dissertação sob o ponto de vista interpretativo, analisando a problemática de cada papel e a forma como o percurso tonal destas obras influencia as performances dos intérpretes; Abstract: STUDY AND ANALYSIS TECHNICAL-INTERPRETATION OF THE LEADING ROLE OF THE TENOR IN THE OPERAS LUCIA DI LAMMERMOOR (EDGARDO) AND L´ELISIR D´AMORE (NEMORINO) OF GAETANO DONIZETTI In this dissertation we analyze the interpretation of the tenor role in the operas Lucia di Lammermoor and L´Elisir d´Amore by Gaetano Donizetti, studying the major factors that influenced the tenor role interpretation and how it developed along the years, by comparing two recordings of these operas recorded 50 years apart from each other. The period of the bel canto is associated with the vocal ornamentation to express emotions which, as a consequence and together with other aspects, required technical changes to the tenor voice, in particular the high register. The historic and musical context of this time, as well as the technical developments that happened then, influenced the way of singing and introduced the tenor as the main role in operas, with all the challenges to sing in the passagio, to master the breathing process and to use all the forms of musical expression that the bel canto composers used as vehicles to interpret and express feelings. The choice of these two operas by Donizetti is based on personal taste and also on the interpretative contrasts between the roles of Edgardo and Nemorino, studied in this dissertation in terms of their interpretation, their problematic and how the harmony of these operas influences the interpretation of the singers.

Shaping the future of learning using the student voice: we’re listening but are we hearing clearly?

Student voice data is a key factor as Manchester Metropolitan University strives to continually improve institutional technology enhanced learning (TEL) infrastructure. A bi-annual Institutional Student Survey enables students to communicate their experience of learning, teaching and assessment on programmes and specific units studied. Each cycle of the survey contains approximately 40–50,000 free text comments from students pertaining to what they appreciate and what they would like to see improved. A detailed thematic analysis of this data has identified 18 themes, arranged into six categories relating to the ‘Best’ aspects of courses, and 25 themes, arranged in seven categories in relation to aspects of courses considered to be ‘in need of improvement’. This student data was then used as a basis for semi-structured interviews with staff. Anecdotally, evidence suggested that student expectations and staff expectations around TEL and the virtual learning environment (VLE) differed. On-going evaluation of this work has highlighted a disconnect. In significant instances, academic colleagues seemingly misinterpret the student voice analysis and consequently struggle to respond effectively. In response to the analysis, the learning technologist's role has been to re-interpret the analysis and redevelop TEL staff development and training activities. The changes implemented have focused on: contextualising resources in VLE; making lectures more interactive; enriching the curriculum with audio–visual resources; and setting expectations around communications.

Voice conversion with pre-trained representations for audio anonymization

The recording and processing of voice data raises increasing privacy concerns for users and service providers. One way to address these issues is to move processing on the edge device closer to the recording so that potentially identifiable information is not transmitted over the internet. However, this is often not possible due to hardware limitations. An interesting alternative is the development of voice anonymization techniques that remove individual speakers characteristics while preserving linguistic and acoustic information in the data. In this work, a state-of-the-art approach to sequence-to-sequence speech conversion, ini- tially based on x-vectors and bottleneck features for automatic speech recognition, is explored to disentangle the two acoustic information using different pre-trained speech and speakers representation. Furthermore, different strategies for selecting target speech representations are analyzed. Results on public datasets in terms of equal error rate and word error rate show that good privacy is achieved with limited impact on converted speech quality relative to the original method.