Speech, Music, Sound presents an entirely original approach to the theory of sound. Drawing on a wide range of phonetic, linguistic, pragmatic, semiotic, and musicological sources, it concentrates on the communicative roles of aural perspective, rhythm, melody, and timbre in music as well as speech, everyday soundscapes, and film and television soundtracks. It applies linguistic concepts such as turntaking to music, and musical concepts such as harmony to speech. And it also contains a chapter on aural realism, again in relation to music, speech, and contemporary sound design.
An easy to understand text on basic acoustics and speech. Some basic physics, but basically written to a general college audience. Can be used for music majors, speech majors, physics majors. Includes an entire section on the acoustics of all major musical instructions. Also includes a section on speech and audio equipment acoustics.
This book explores what speech, music and other sounds have in common. It gives a detailed description of the way perspective, rhythm, textual quality and other aspects of sound are used to communicate emotion and meaning. It draws on a wealth of examples from radio (disk jockey and newsreading speech, radio plays, advertising jingles, news signature tunes), film soundtracks (The Piano, The X-files, Disney animation films), music ranging from medieval plain chant to drum 'n' bass and everyday soundscapes.
When Speech and Audio Signal Processing published in 1999, it stood out from its competition in its breadth of coverage and its accessible, intutiont-based style. This book was aimed at individual students and engineers excited about the broad span of audio processing and curious to understand the available techniques. Since then, with the advent of the iPod in 2001, the field of digital audio and music has exploded, leading to a much greater interest in the technical aspects of audio processing. This Second Edition will update and revise the original book to augment it with new material describing both the enabling technologies of digital music distribution (most significantly the MP3) and a range of exciting new research areas in automatic music content processing (such as automatic transcription, music similarity, etc.) that have emerged in the past five years, driven by the digital music revolution. New chapter topics include: Psychoacoustic Audio Coding, describing MP3 and related audio coding schemes based on psychoacoustic masking of quantization noise Music Transcription, including automatically deriving notes, beats, and chords from music signals. Music Information Retrieval, primarily focusing on audio-based genre classification, artist/style identification, and similarity estimation. Audio Source Separation, including multi-microphone beamforming, blind source separation, and the perception-inspired techniques usually referred to as Computational Auditory Scene Analysis (CASA).
This book reports on an outstanding thesis that has significantly advanced the state-of-the-art in the automated analysis and classification of speech and music. It defines several standard acoustic parameter sets and describes their implementation in a novel, open-source, audio analysis framework called openSMILE, which has been accepted and intensively used worldwide. The book offers extensive descriptions of key methods for the automatic classification of speech and music signals in real-life conditions and reports on the evaluation of the framework developed and the acoustic parameter sets that were selected. It is not only intended as a manual for openSMILE users, but also and primarily as a guide and source of inspiration for students and scientists involved in the design of speech and music analysis methods that can robustly handle real-life conditions.
An innovative and invaluable resource for students and professionals to effectively treat children with speech sound disorders Children with speech sound disorders are at higher risk of academic failure, behavioral difficulties, motor impairments, language delays, and literacy deficits. Speech Sound Disorders: Comprehensive Evaluation and Treatment by Kelly Vess provides the necessary tools to use research-based practices when diagnosing and treating preschoolers. Sophisticated yet reader-friendly, this interactive book is certain to revolutionize the methodology therapists use to treat children with these disorders and globally improve outcomes. Through a step-by-step process, readers will learn to critically review and evaluate research in practice. Guidance is provided on how to create educationally rich activities to comprehensively treat children with speech sound disorders. Readers will not only learn how to integrate research into practice, but also how to research their own practices to continually grow as professionals and advance the field. In addition, invaluable insights are provided on how to make efficient use of limited therapy time by targeting executive function, social communication, motor skills, language skills, and literacy skills while treating children with speech sound disorders. Key Highlights Readers actively engage in this robust learning experience by: Participating in interactive activities with 120 video clips of diverse populations of preschoolers that clearly illustrate evidence-based practices. Critically reviewing current research, objectively evaluating research in practice including their own, and creating evidence-based methods to continually improve evaluation and treatment of preschoolers with varied needs. Implementing proven evidence-based strategies to improve outcomes within a variety of contexts for diverse groups of preschoolers. Scaffolding children with complex treatment target selection to promote optimal growth at a time when neuroplasticity is at a high level. This unique resource empowers individuals across academic and professional settings to improve the treatment outcomes for preschoolers with speech sound disorders, develop self-efficacy skills, and instill a lifelong love of learning in children.
In this ground-breaking synthesis of art and science, Diana Deutsch, one of the world's leading experts on the psychology of music, shows how illusions of music and speech--many of which she herself discovered--have fundamentally altered thinking about the brain. These astonishing illusions show that people can differ strikingly in how they hear musical patterns--differences that reflect variations in brain organization as well as influences of language on music perception. Drawing on a wide variety of fields, including psychology, music theory, linguistics, and neuroscience, Deutsch examines questions such as: When an orchestra performs a symphony, what is the "real" music? Is it in the mind of the composer, or the conductor, or different members of the audience? Deutsch also explores extremes of musical ability, and other surprising responses to music and speech. Why is perfect pitch so rare? Why do some people hallucinate music or speech? Why do we hear phantom words and phrases? Why are we subject to stuck tunes, or "earworms"? Why do we hear a spoken phrase as sung just because it is presented repeatedly? In evaluating these questions, she also shows how music and speech are intertwined, and argues that they stem from an early form of communication that had elements of both. Many of the illusions described in the book are so striking and paradoxical that you need to hear them to believe them. The book enables you to listen to the sounds that are described while reading about them.
This innovative volume challenges the ways we look at both cinema and cultural history by shifting the focus from the centrality of the visual and the literary toward the recognition of acoustic culture as formative of the Soviet and post-Soviet experience. Leading experts and emerging scholars from film studies, musicology, music theory, history, and cultural studies examine the importance of sound in Russian, Soviet, and post-Soviet cinema from a wide range of interdisciplinary perspectives. Addressing the little-known theoretical and artistic experimentation with sound in Soviet cinema, changing practices of voice delivery and translation, and issues of aesthetic ideology and music theory, this book explores the cultural and historical factors that influenced the use of voice, music, and sound on Soviet and post-Soviet screens.
