scholarly journals Sound in Udmurt Rituals

2021 ◽  
pp. 397-426
Author(s):  
Irina Nurieva ◽  
Keyword(s):  
Urban Space ◽  
Sound Field ◽  
Human Voice ◽  
Ancient Society ◽  
The World ◽  
Acoustic Community ◽  
Summer Half ◽  
Surrounding Landscape ◽  
The Voice ◽  
Hunting And Fishing

This article is dedicated to the Udmurt’s understanding of the world of sounds, their norms of behaviour towards sound in the acoustic community. The Udmurt sound worldview has been formed under the influence of the surrounding landscape. The peculiar sound of the Forest, that the Udmurt see and hear in their particular way, causes a particular sound reaction and musical approach. According to tradition, the voice of a singing person must fit into the natural soundscape in order to respect acoustic balance. Within the hunting and fishing cults, singing has received the particular function of a magic incantation. The texts of incantatory songs in hunting and in honey producing, are characterised by incantation formulas as well as by different kinds of sound imitations. The collective community ritual singing is one of the most important elements that organise the Udmurt’s soundscape. The acoustic code is integrated in a whole system of ritual practices; it sanctifies the surrounding cultural and natural landscape. The spring-summer half of the year is characterised by a particularly strong intensity of sounds, as in the most significant calendar holiday, the beginning of the agricultural year, Akashka / Byddzh’ym nunal. The rituals of welcoming have their own aesthetics of sound behaviour. According to the Udmurt community’s mentality, the voice of the singing person is not supposed to stand out of the general sound field. Everywhere, the skilful singer occupies a peculiar position on the Udmurt society: they are valued and respected. At the same time, the belief according to which those who are able to sing well are deeply unhappy in life is very widespread. Taking into account that human voice and singing, in the representations of the Udmurt, possessed a huge force and influence on the surrounding world, we may infer that the singer (the skilful singer!) in the ancient society, who mastered this complicated art, had particular authority. It is even possible that at some moments, he/she fulfilled the function of a mediator between the worlds. And similarly to the shaman, the good singer, usto kyrdzh’as’ could not refuse to practice his/her art, this art given him/her by fate. Thus, the Udmurt’s sound worldview is encompassed into an ontological worldview, which sets the rules of behaviour. It requires a proper sound behaviour inside the natural space as well as in the socio-cultural one, and determines the Udmurt’s behaviour not only in their natural environment but also in the urban space.

A Voice without a Muse

2017 ◽  
Vol 5 (2) ◽  
pp. 159-177 ◽  
Author(s):  
Marco Vespa
Keyword(s):  
Detailed Analysis ◽  
Animal Species ◽  
Semantic Field ◽  
Human Beings ◽  
Ancient Greek ◽  
Ancient Society ◽  
The World ◽  
The Voice

Ancient sources often describe non-human primates as imitative animals, i.e., living beings able to reproduce, with different degrees of perfection, gestures and movements carried out by human beings. Indeed monkeys are often characterized asmimeloi, mimetikoi, terms coming from the same semantic field of the nounmimos(< *mim-).But what about the world of sounds? Are non-human primates regarded as good imitators and performers also when it comes to music and singing? Ancient evidence clearly indicates that other animal species (like nightingales or partridges), and not monkeys, were mainly regarded as excellent singers worthy of imitation by human beings. Through a detailed analysis of ancient Greek sources, especially some passages in Galen, this paper aims at investigating why non-human primates were not considered good singers. In particular, this survey tries to shed a new light on some cultural associations, according to which the small and weak voice of monkeys (µικροφωνία) and the voice of other figures in ancient society (like actors, musicians, kids, eunuchs and so on) were described in a similar way.

scholarly journals ANTHROPOLOGY OF SOUND IN THE TRADITIONAL CULTURE OF THE MONGOLIAN PEOPLES

2021 ◽  
pp. 118-126
Author(s):  
Лидия Данииловна Дашиева
Keyword(s):  
Sound Field ◽  
World Order ◽  
Traditional Culture ◽  
Information Model ◽  
Multidimensional Space ◽  
Cultural Tradition ◽  
Human Voice ◽  
Wide Range ◽  
The World ◽  
Huge Impact

В данной статье рассматривается антропология звука в контексте изучения акустического кода и звуковой картины мира как универсальной информационной модели в традиционной культуре монгольских народов. Такая информационная модель представляет собой дифференцированную систему звуков со своими грамматическими и синтаксическими правилами, способную не только передать всю сложность представлений человека об окружающем мире, но и воздействовать на него, служа залогом сохранения мирового порядка. Понятие «антропология звука» гораздо шире и объемнее, чем семантика, которая является одной из ее ключевых составляющих. Поскольку в современной российской науке в рамках направления Антропология искусства еще только обсуждаются вопросы терминологии, точного определения антропологии звука пока не существует. В статье рассматривается звук человеческого голоса, выполняющий коммуникативную функцию и обладающий огромной силой воздействия на природу и социум. Акустический код, характеризуя культурный и природный ландшафт, включает широкий спектр звуков от природных, натуральных до строго организованных вербальных и музыкальных текстов и отличается полифункциональностью. О магии звука голоса человека свидетельствуют народные поверья и легенды, в которых отражаются мифологические и религиозные представления монгольских народов. Сформированный в течение тысячелетий мир степной культуры номадов включал много-уровневую систему звуковых кодов, реализованных как в музыкальной, так и в немузыкальной формах. Исследуется семантика звука в возгласных распевах и обрядовых протяжных песнях монголов уртын дуу, репрезентирующих особый «генетический код» и являющихся этническим маркером культурной традиции. Обрядовые протяжные песни уртын дуу, в том числе песнопения, исполняющиеся во время грозы, мелодический свист3 или посвист тесно связаны с обрядом призывания небесной благодати и культом предков. Они являются одним из важных компонентов целостной обрядовой системы, организующим звуковое поле традиционной культуры монгольских народов. Кроме того, в статье пунктирно представлен феномен звука в многомерном пространстве шаманского и буддийского космоса. Таким образом, в данной статье отражено обрядовое содержание звукового пространства монгольского мира, чем и обусловлен выбор материала (мифологические представления о голосе, обрядовые протяжные песни, мантры и т. п.). Автор не ставил целью исследовать всю палитру звукового поля традиционной культуры монгольских народов. Это тема будущего специального исследования. This article examines the anthropology of sound in the context of studying the acoustic code and the sound picture of the world as a universal information model in the traditional culture of the Mongolian peoples. Such an information model is a differentiated system of sounds with its own grammatical and syntactic rules, which can not only convey the complexity of a person's ideas about the surrounding world, but also affect it, serving as a guarantee of preserving the world order. The sound of the human voice, which performs a communicative function and has a huge impact on nature and society, is considered in the context of an acoustic or sound code of the steppe culture of the Mongolian peoples. The acoustic code of traditional culture, characterizing the cultural and natural landscape, includes a wide range of sounds from natural to strictly organized verbal and musical texts and is characterized by polyfunctionality. Folk beliefs and legends, which reflect the mythological and religious ideas of the Mongolian peoples, testify to the magic of the sound of the human voice. The article examines the semantics of sound in the exclamatory chants and ritual long songs of the urtynduu Mongols, which represent a special “genetic code” and are an ethnic marker of their cultural tradition. The ritual long songs urtynduu, including chants performed during thunderstorms, melodic whistling or whistling, are closely related to the rite of invoking heavenly grace and the cult of ancestors. They are one of the important components of the integral ritual system, organizing the sound field of the traditional culture of the Mongolian peoples. In addition, the article presents the dotted line phenomenon of sound in the multidimensional space of the shamanic and Buddhist cosmos.

Indonesian Literature’s Position in World Literature

TEKNOSASTIK ◽  
2018 ◽  
Vol 14 (2) ◽  
pp. 1
Author(s):  
Dina Amelia
Keyword(s):  
World Literature ◽  
The Other ◽  
National Literature ◽  
Western World ◽  
The World ◽  
The One ◽  
The Voice

There are two most inevitable issues on national literature, in this case Indonesian literature. First is the translation and the second is the standard of world literature. Can one speak for the other as a representative? Why is this representation matter? Does translation embody the voice of the represented? Without translation Indonesian literature cannot gain its recognition in world literature, yet, translation conveys the voice of other. In the case of production, publication, or distribution of Indonesian Literature to the world, translation works can be very beneficial. The position of Indonesian literature is as a part of world literature. The concept that the Western world should be the one who represent the subaltern can be overcome as long as the subaltern performs as the active speaker. If the subaltern remains silent then it means it allows the “representation” by the Western.

Pamela

2008 ◽  
Author(s):  
Samuel Richardson
Keyword(s):  
Young Girl ◽  
Original Text ◽  
Literary Marketplace ◽  
Defining Moment ◽  
Modern Novel ◽  
The World ◽  
The Voice

‘Pamela under the Notion of being a Virtuous Modest Girl will be introduced into all Families, and when she gets there, what Scenes does she represent? Why a fine young Gentleman endeavouring to debauch a beautiful young Girl of Sixteen.’ (Pamela Censured, 1741) One of the most spectacular successes of the burgeoning literary marketplace of eighteeent-century London, Pamela also marked a defining moment in the emergence of the modern novel. In the words of one contemporary, it divided the world ‘into two different Parties, Pamelists and Antipamelists’, even eclipsing the sensational factional politics of the day. Preached up for its morality, and denounced as pornography in disguise, it vividly describes a young servant’s long resistance to the attempts of her predatory master to seduce her. Written in the voice of its low-born heroine, but by a printer who fifteen years earlier had narrowly escaped imprisonment for the seditious output of his press, Pamela is not only a work of pioneering psychological complexity, but also a compelling and provocative study of power and its abuse. Based on the original text of 1740, from which Richardson later retreated in a series of defensive revisions, this edition makes available the version of Pamela that aroused such widespread controversy on its first appearance.

Contemplating Compilations

2017 ◽  
Author(s):  
Joseph Pate ◽  
Brian Kumm
Keyword(s):  
Music Making ◽  
Van Manen ◽  
The World ◽  
The Creation ◽  
Pass Through ◽  
Sound Objects ◽  
Meaningful Experiences ◽  
The Voice ◽  
Max Van Manen

Through this chapter the crafting of compilations is explored as an act, art, and expression of music making, illuminating the listeners’ and compilers’ positions as cocreators of meaning, function, and purpose. Music becomes repositioned and repurposed as found or sound objects that pass through Gaston Bachelard’s triptych of resonance, repercussion, and reverberations, a process of music speaking to so as to speak for individuals’ deeply personal and significantly meaningful experiences. The chapter addresses the question, “What motivates someone to partake in this personally meaningful, vulnerable, and artistic endeavor?” Using Josef Pieper’s conceptions of leisure as celebration, an orientation toward the wonderful, and an act of affirmation, the chapter concludes that the creation and crafting of compilations (e.g., mix tape) affords poetic spaces for connection, enchantment, felt-aliveness, or what Max van Manen called an “incantative, evocative speaking, a primal telling, [whose] aim [is] to involve the voice in an original singing of the world.”

scholarly journals Living in dual liminal states: Navigating the loss of my father and my clinical career during a pandemic

2021 ◽  
Vol 20 (1-2) ◽  
pp. 138-141
Author(s):  
Jennifer Currin-McCulloch
Keyword(s):  
Palliative Care ◽  
Social Interaction ◽  
Social Worker ◽  
Rites Of Passage ◽  
Developmental Transitions ◽  
The World ◽  
Professional Conflicts ◽  
The Voice ◽  
Insight Into

Drawing from Van Gennep and Caffee’s conceptualization of liminality, this autoethnographic narrative portrays the author’s rites of passage into academia and through the death of her father. These fundamental developmental transitions and losses emerged concomitantly within the backdrop of a pandemic, further cloaking the world in grief and disequilibrium. Incorporating the voice of the personal as professional, the author portrays her existential struggles in relinquishing her cherished role as a palliative care social worker and living through her dad’s final months during a time of restricted social interaction. Interwoven throughout the narrative appear stories of strife, hope, grief, and professional epiphanies of purpose and insider privilege. The paper embraces both personal and professional conflicts and provides insight into the ways in which the unique setting of a pandemic can provide clarity for navigating the liminal states of separation, transition, and incorporation.

Text-to-Speech Software and Learning: Investigating the Relevancy of the Voice Effect

2018 ◽  
Vol 57 (6) ◽  
pp. 1534-1548 ◽  
Author(s):  
Scotty D. Craig ◽  
Noah L. Schroeder
Keyword(s):  
Learning Outcomes ◽  
Learning Environments ◽  
Multimedia Learning ◽  
Text To Speech ◽  
Multimedia Design ◽  
Cognitive Efficiency ◽  
Human Voice ◽  
Instructional Multimedia ◽  
Efficiency Measures ◽  
The Voice

Technology advances quickly in today’s society. This is particularly true in regard to instructional multimedia. One increasingly important aspect of instructional multimedia design is determining the type of voice that will provide the narration; however, research in the area is dated and limited in scope. Using a randomized pretest–posttest design, we examined the efficacy of learning from an instructional animation where narration was provided by an older text-to-speech engine, a modern text-to-speech engine, or a recorded human voice. In most respects, those who learned from the modern text-to-speech engine were not statistically different in regard to their perceptions, learning outcomes, or cognitive efficiency measures compared with those who learned from the recorded human voice. Our results imply that software technologies may have reached a point where they can credibly and effectively deliver the narration for multimedia learning environments.

scholarly journals Android Based Voice Activated Wheel Chair for Disabled

2020 ◽  
Vol 9 (3) ◽  
pp. 3508-3509
Keyword(s):  
Speech Recognition ◽  
Smart Phone ◽  
Dc Motor ◽  
Older Individuals ◽  
Recognition Model ◽  
Human Voice ◽  
Dc Motors ◽  
Wheel Chair ◽  
The Voice

The aim of the project is to develop a wheel chair which can be controlled by voice of the person. It is based on the speech recognition model. The project is focused on controlling the wheel chair by human voice. The system is intended to control a wheel seat by utilizing the voice of individual. The structure of this framework will be particularly valuable to the crippled individual and furthermore to the older individuals. It is a booming technology which interfaces human with machine. Smart phone device is the interface. This will allow the challenging people to move freely without the assistant of others. They will get a moral support to live independently .The hardware used are Arduino kit, Microcontroller, Wheelchair and DC motors. DC motor helps for the movement of wheel chair. Ultra Sonic Sensor senses the obstacles between wheelchair and its way.

scholarly journals Voice Over Internet Protocol Based Communication Design (VoIP) With 3CXSystemPhone On Android Smartphone

bit-Tech ◽  
2018 ◽  
Vol 1 (1) ◽  
pp. 1-8
Author(s):  
Riki Riki ◽  
Aditiya Hermawan ◽  
Yusuf Kurnia
Keyword(s):  
Internet Protocol ◽  
Scientific Work ◽  
Data Networks ◽  
Voice Over Internet Protocol ◽  
Computer Data ◽  
Communication Costs ◽  
Data Packets ◽  
Human Voice ◽  
Communication Design ◽  
The World

TCP\IP protocol can be connected to various computer data networks in the world. This protocol increasingly exists and is needed so that many parties develop it to vote through this protocol. Voice Over Internet Protocol technology is the answer to that desire. This technology is able to convert analog voice (human voice) into data packets then through public internet data networks and private intranet data packets are passed, so that communication can occur. With VoIP communication costs can be reduced so that it can reduce investment costs and conversations (cost saving) or even up to 100% free. VoIP implementation can be done by designing a wireless VoIP network (cable) using 3CXSystemPhone software as a PBX. In this scientific work the software used is 3CXSystemPhone 11.0, where SIP is a VoIP server which is a freeware software, in its application only requires one PC server and several PC clients (2 for example) that are connected to each other

scholarly journals AN INTEGRATED APPROACH TO THE STUDY OF THE POEM OF N. IZHENDEY “THE VOICE OF THE UNBORN CHILD”

2020 ◽  
Vol 6 (17) ◽  
pp. 658-664
Keyword(s):  
Umbilical Cord ◽  
World View ◽  
Integrated Approach ◽  
School Curriculum ◽  
Art World ◽  
Unborn Child ◽  
Traditional Values ◽  
The World ◽  
Use Of Knowledge ◽  
The Voice

In modern education, methods of an integrated approach to learning are actively used. When studying literature, knowledge from the field of related sciences is acceptable: folklore, mythology, history, psychology, social science. This makes it possible to expand students' knowledge about the art world of a work, the national picture of the world of an ethnos, and socio-historical reality. The purpose of this work is to outline the role of the poem by N. Izhendey “The Voice of the Unborn Child” in the moral and aesthetic education of the younger generation, since the poem is included in the regional component of the school curriculum. The work depicts the hardships and troubles of the 90s. The twentieth century, as well as the problem of the future of the Chuvash language and the survival of its speakers. The elements of folklore and mythology used by the author contribute to the perception by students of a holistic world view of the Chuvash people: their aspirations, fears, hopes. In addition, the author creates, as it were, a new - more accessible to the modern generation - version of the myth of the origin of arçuri (wood goblin). In the analysis of these images semantic meaning, knowledge of folklore, rites associated with the birth of a child is appropriate. So, Chuvashs call a newborn baby çĕnĕ kayăk (new bird). If this is a boy, then he is called golden bird, a girl is called silver bird. The lyrical hero calls himself fire bird, because he wants to emphasize that his soul is like fire. He promises to clear the world of people from evil and injustice with his fire. “Birth in a shirt” is perceived as a sign of a happy fate, good luck. The umbilical cord of a child also belongs to such attributes. In the poem, the umbilical cord is the organ that connects the child with the mother, a detail uniting past and future generations. As long as this organ is intact, the child will live, and the connection between generations will not be interrupted. This problem has become especially urgent at the present time - in the era of globalization and the departure from traditional values. In the poem, the author focuses the attention of readers on the importance of maintaining the connection of generations, because without the past there is no future. The swallow in Chuvash mythology has a good meaning. It is associated with hard work and the ideal of beauty, the ability to speak fluently and beautifully. In the poem, the swallow represents the Chuvash language. The mother, feeling the germ of a new life, sings songs that give rise to the Chuvash spirit in the soul of the child. At the end of the story, the soul of the lyric hero returns to its native places in the likeness of a swallow. The use of knowledge about the features of folklore, its images, and the socio-historical development of the region allows a deeper understanding of the artistic intent of the work. When analyzing it, knowledge about traditions and continuity in literature and moral ideals of an ethnos is acceptable.

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