Developing a listening English learning model using text2speech application

The research on the development of "Listening" practice using Text2Speech Applications aims to develop teaching of English, ‘Listening’ for teachers and students who are not experts in the field of information technology. This study tries to discuss how to adopt and adapt Text-to-Speech software / applications in teaching and learning of English. Text2Speech is a computer application (software) that makes it possible to convert written text into spoken text so that it can be heard. By using the Text2Speech application, written text in MS Word format can be converted into spoken text. Text2Speech allows any text to be read in a computer-synthesized voice. By utilizing Text2Speech, written text can be read and sounded so that it can be heard by the user. Text2Speech allows users to determine how to pronounce a word, phrase, sentence, and even text or parts of text. By utilizing the Text2Speech application, teachers and students get "listening" learning materials in native speakers' voices, so that students get used to hearing "listening" teaching materials from native speakers.

This is simplified to the point of banality.

This study offers a contribution to the reception analysis of TV doc­umentaries by focusing on viewer opinions expressed on social me­dia. It analyses German and English comments from YouTube and Facebook in order to find out what aspects of documentaries the audience comments on. More specifically, it describes how the viewers evaluate strategies that the producers use for simplifying complex content while still creating an appealing and entertaining media product. The results imply that most viewers appreciate informative shows that are entertaining at the same time. They also show that viewers tend to focus on the music and image, rather than on the spoken text, and that documentaries where nature plays an important role are judged more positively than science and history documentaries.

Comparing Oral and Written Cooking Recipes Using Systemic Functional Grammar

This article compares oral and written cooking recipes of the same food created by the same person, by using systemic functional grammar. The aim of the article is to find out the similarities and differences of the language used in both recipes. The data are obtained from Jamie Oliver’s cooking show aired in a YouTube channel on how to make scones and the written recipe of the same food published in his website. The focus of the analysis is on the lexico-grammar of the clauses used in the texts. The result shows that there are more differences than similarities between the two texts. There are more clauses in the spoken text than those in the written text in terms of quantity and variety. In the ideational function, both texts have a similar variety of processes with the majority of material process showing imperatives of procedural texts and additional information using mental, existential, and relational processes, but in the written text there are two clauses using verbal process that are not found in the spoken text. In the interpersonal function, the two texts show demands of good and services and the use of modalities in expressing the expected results of the cooking process. In the spoken text, the relation between the cook and the audience is friendlier and closer than that in the written text. It is demonstrated in the use of vocatives and interrogatives that are not used in the written text. The textual functions show similar results in the use of conjunctions but the spoken text displays closer interpersonal textual functions found in the use of vocatives. The analyses of the three metafunctions of the two recipes may contribute to the study of food texts in linguistics that are relatively low compared to those in other disciplines.

The Virtual is Material: Music Improvisation in Post-Digital Ecologies

Link to performance: https://vimeo.com/640946914/cf858052e1AbstractThis performance-lecture was originally presented at the DRHA (Digital Research in the Humanities and Arts) conference in 2021 in Berlin. 3BP (Paul Stapleton, Adam Pultz Melbye and John Bowers) presents three views on the creation of an online performance ecology that allows the trio to improvise together, despite living in three separate locations. Rather than trying to overcome the instabilities and artefacts introduced by the fluctuations in data transfer, 3BP describe how such properties become native to the trios understanding of its own practice, affording new areas of creative exploration and consideration. The trio draws on Karen Barad’s use of terms such as diffraction and apparatus to discuss how music-making and improvisation embedded in run-away technologies affords emergent behaviour that transcends reflection to allow for diverse and unstable non-linear performances.BiosPaul Stapleton is an improviser and sound artist originally from Southern California. He designs and performs with a variety of modular metallic sound sculptures, custom made electronics and found objects in settings ranging from Echtzeitmusik venues in Berlin to the annual NIME conference. Paul is currently Professor of Music at SARC in Belfast, where he teaches and supervises research in new musical instrument design, music performance, sound design and critical improvisation studies. www.paulstapleton.net Adam Pultz Melbye is a double bass player, composer and audio programmer based in Berlin, currently undertaking a practice-led PhD at Sonic Arts Research Centre in Belfast.  Adam has released three solo albums and appear on another 40+ releases. He has created sound installations, composed music for film, theatre and dance, and performed in Europe, the US, Japan and Australia, his work appearing at Murray Art Museum Albury (Australia), The Danish National Gallery and Wien Modern (Austria). www.adampultz.com John Bowers is an artist-researcher with an academic background in the social and computing sciences, design, music and critical theory. As an improvising musician, he works with modular synthesisers, home-brew electronics, reconstructions of antique image and sound-making devices, self-made software, field recordings, esoteric sensor systems, and spoken text. He often combines performance with walking and the investigation of selected sites to research an imagined discipline he calls ‘mythogeosonics’. He has performed at festivals including the Venice Biennale, Experimental Intermedia New York, Transmediale/CTM Vorspiel Berlin, Piksel Bergen, Electropixel Nantes, BEAM London, Aldeburgh Festival and Spill Ipswich, and toured with the Rambert Dance Company performing David Tudor’s music to Merce Cunningham’s Rainforest.

Nilai Pendidikan Agama Hindu dalam Teks Tutur Jatiswara

<em>Tutur is a type of traditional literary work in the form of prose, which contains religious, philosophical and life values. The speech that will be used as study material in this journal article is entitled Tutur Jatiswara. Jatiswara speech text is a spoken text that describes the advice of parents to their children. The problem statement in this journal article is (1). The structure of the Jatiswara speech text. (2). The educational value contained in the text said Jatiswara. The objectives contained in this journal article are divided into 2, namely general goals and specific goals. The general objective in this journal article is to develop and preserve traditional Balinese literature, especially literary works in the form of speech. The specific objectives in this journal article are (1) to find out the structure contained in Jatiswara's spoken text. (2) This is to determine the value of Hindu religious education in the Jatiswara speech text. The method used in writing this journal article is by using a review method from several sources or what is called the literature method.</em>

Exercises Involving Groups

There is an actor in every musician, and these exercises tap into the theatrical nature of music-making. Closer to pure theater games than the other exercises in this book, the exercises in this brief but essential section provide a variety of ways for groups to explore musical and theatrical expressivity without needing to play musical instruments. The exercises here are fun yet challenging experiments that consider issues of tempo, range, dynamics, phrasing, silence, ensemble coordination, communication, conducting, improvised counterpoint, and much more, through the use of spoken text, improvised speech, noises, and movement. These exercises might be used as warmups before group rehearsals, whether of a chorus, chamber ensemble, band, or orchestra. They are designed to support positive group interaction and build trust and confidence while having fun and learning together.

Exercises in Composing

This part is designed primarily with composers in mind, yet while experience writing music would be helpful here, it is not absolutely required to enjoy doing these exercises. The exercises may be done by an individual alone, and they are also useable in a composition class, private lesson, theory seminar, or improvisation workshop. Part V opens with an essay about creativity in general that also explores ideas of truth and beauty in music. Beauty is not discussed in a mundane sense—not in the sense of prettiness or loveliness—but rather the concept of Beauty within music composition as it is embodied in the relation of the parts to the whole, a sense of proportion, and the aptness of technique to the idea expressed. This is followed by a series of exercises designed to inspire musical creativity. These involve a range of approaches, including: imitating models; channeling composers; creating alternatives to existing music; using spoken text as subtext for composition; stylistic juxtapositions and confrontations; altering parameters such as meter; rewriting pre-existing music; using structural analysis to create new music; cutting and pasting; group composing games; versions and variations of a phrase; deceptive endings, detours, and interruptions; and music based on physical manifestations of emotion discovered through acting.

Reassembled, Slightly Askew: Immersive Storytelling Through Sound

Reassembled, Slightly Askew (RSA) is an audio theatre work which takes the audience through the visceral and embodied experience of Shannon Yee (Sickels) as she lives through a catastrophic brain infection and surgery, and eventually (as the title indicates) reassembles herself, and familiarizes herself with her acquired brain injury. Audience members experience RSA lying in hospital beds, wearing eyemasks and headphones. Sonically you, as audience member, are situated within the body of Shannon. Your focus is directed to the corporeal experience as told through sound and spoken text, providing a first-person perspective on the experience of acquiring an invisible disability. The project broke new methodological ground for the interdisciplinary artistic team, requiring a high level of collaboration and interweaving of the artists’ respective expertise: writing, directing, choreography, sound design and dramaturgy. Throughout the process of exploration and making, a seamless relay happened naturally as to which art form was leading in the discoveries and decisions. In this dossier, the artists replicate this relay to share insights from their own perspective in the creation of the project and its particular challenges in developing a highly visceral and corporeal experience through sound.

Measuring Productive Derivational Knowledge of the Most Frequent Words

Derivational knowledge is associated with writing and speaking skills. These skills are essential for EFL students who express themselves in oral presentations or written assignments. Therefore, diagnostic measurement of productive derivational knowledge is of vital importance, especially in regard to the most frequent 1,000 word families that cover 81% and 85% of written and spoken text. This study measured 46 Iranian university EFL students’ productive derivational knowledge of the words at the 1,000 word frequency level. The findings indicate that while participants had the productive form-meaning knowledge of the words at 1,000 level, they did not seem to have extensive derivational knowledge of the same words. This assists in diagnosing area of weakness and placing instructional emphasis on high frequency words.