Imitation Of Sounds Research Articles

Narrative videogame: types of verbal communication

The present investigation is dedicated to studying different types of communication represented in videogames. The topicality of this research follows from the urgency of all lingual papers in the field of digital studies, on the one hand, and is stressed by the necessity to determine the role of verbal elements in computer games. The work is based on The Talos Principle, one of the most popular videogames of all times (as claimed by a wide number of ratings). The main objective of the paper is to single out the peculiarities of different communication types in the game studied. Thus, it presupposes setting the following tasks: considering the specific features of videogames as a type of human activity, contrasting them with films and literature, analysing the type and the idea of The Talos Principle game, distinguishing its genre and revealing the types of communication presented in it, together with their frequency and their importance for game-playing and its ludonarrative. The script of the game analysed counts over 14 thousand words, the game lasts about 5 hours. Having worked out a new taxonomy of videogames, the author argues that The Talos Principle belongs to narrative games, i.e. those telling a story, and classifies it as a game of mixed type from the point of view of its interactivity. The game story depends on the protagonist’s physical movements and activities, though they only help realise the goal of the game and solve puzzles. As any other game, The Talos Principle offers a gamer a new existence in a world built up by both verbal and non-verbal elements. A conclusion is made as to the equal shares by them and following from the nature of narrative videogames in general. Verbal elements in the game are represented by mono- and dialogical speech excerpts, letters and QR-codes. Non-verbal elements fall into sounds (soundtracks and sound imitation) and images; within the latter dynamic and static elements are singled out. The carried out investigation allows making a conclusion about information significance as a factor influencing the frequency of a certain type of message. Hence, as it is from the archives letters that the gamer gets the most important information for the game progress, this type of ranks first (23%) amongst other types of verbal communication.

PHONOSEMANTIC PHENOMENA AS LINGUISTIC REALITIES

Phonetic semantics is a phenomenon of natural involuntary phonetically motivated connection between phonemes and the non-sound signs of denotation, which underlies the nomination. In other words, the denotation of the nomination in sound imitation is represented by objects, phenomena, processes, which are characterized by the ability to form sounds that are subconsciously associated with these objects, phenomena, etc. Following the principles of sound symbolism, the denotation of the nomination is represented by objects, phenomena, processes, which are not characterized by sound production. Phonosemantics needs to take into account two aspects of the fundamental principle of an involuntary/arbitrary linguistic sign. The first involves the general relationship of phenomena and objects of reality. In the history of science, there are examples of connections that are established between seemingly incompatible phenomena. The second aspect is related to the fact that the recognition of the arbitrariness of a linguistic sign means the independence of the relationship between the signified and the signifying, which contradicts the system-wide principle of hierarchy, according to which each element of the higher system can be considered as an independent lower system. The sound complex with its meaning has a constantly changing dynamic nature. The processes that take place in language cause constant changes, and this can not but affect the connection between sound and the meaning of the word. The principle of analogy was extremely developed in the early stages of language formation. And, as a consequence of the process of sound changes ceasing, the principle of metaphorical analogy continues performing such functions, obscuring the primary connections between sound and the meaning of the lexeme. Therefore, it seems natural that sound changes are expressed in changes by analogy. Both sound change and the change by analogy involve the creative factor. The study aims to set the level of motivation of the German sound [b]. The sound under study dominates across the continuum of concepts such as water, chatter, movement and fear. Application of such modern research methods as phonosemantic, descriptive and comparative-historical analysis enabled obtaining a palette of semantic associative phonetic meanings of the sound [b]. The analysis of the German vocabulary demonstrated the sound’s semantic charge at the level of both individual lexical units and the text as a whole. There are ongoing studies in the field of both Germanic and other languages.

Засоби увиразнення української барокової поезії: лінгвостилістичний погляд

The mysterious world of Baroque poetry has scientific interest among both literary critics and linguists for a long time. However, despite some elaboration of the problem, there are some gaps that need linguistic and stylistic coverage. It determines the relevance of the consideration of expressive and pictorial means of different linguistic nature, manifested in the poetic works of the Baroque era. The purpose of the research is to identify and characterize the means of linguistic and artistic expression of the language of the Ukrainian Baroque poetic. Fundamental in the formation of a system of artistic means, realized in Baroque poetry at all levels of language, is a combination of rational and irrational principles. In the poetry of that time, the “atmosphere of the literary game” was consistently created, which was embodied with the help of certain linguistic and expressive units. The author concludes that Ukrainian Baroque poetry is characterized by the use of various tropes and stylistic figures, including assonance and alliteration, equiphony and metaphony, paronymic attraction and phonetic epanalepsis, sound imitation and capitalisation, metaphor and metonymy, comparison and epithets, personification and periphysis, hyperbole and meiosis, parallelism and gradation, antithesis and oxymoron, polyptoton and annomination, doubling and anadiplosis, anaphora and epiphora, homeothelium and chiasm, amplification and polysyndeton. Among them, the artists mostly used figures based on exaggeration, opposition, repetition, and metaphor. The masterful combination of different stylistic means ensured the creation of an expressive, unique and perfect linguistic and artistic picture of that time. The logical continuation of the started research is to find out the influence of the Baroque tradition of decorating the fabric of a poetic work on the further formation of the Ukrainian poetic language.

EŞİTMƏ QÜSURLU UŞAQLARDA SƏS TƏLƏFFÜZÜ POZULMALARINI ARADAN QALDIRMAQ ÜÇÜN MUSİQİLİ RİTMİK VASİTƏLƏRDƏN İSTİFADƏ

One of the most relevant methods used in the rehabilitation of hearing-impaired children and for the development of speech is music-rhythm. In any games based on music-rhythm, it is possible to stimulate several areas, such as speech, motor, cognitive processes. Composing tasks in the form of role-playing games appropriate to the age characteristics of children increases its effectiveness. Music primarily affects the auditory analyzer in children, helps to increase auditory attention in children with dementia. Thus, the child perceives sounds better over time and develops the ability to differentiate them. Improved hearing allows children to understand the speech of adults better. Over time, it accelerates the process of sound imitation, allows the child to pronounce the initial sounds and syllables. Musical-rhythmic is based on the combination of sounds with movements, which leads to the improvement of children's motor skills. It helps to develop small and large motor skills, rhythm and coordination abilities during tasks. Key words: hearing, speech, game, music, exercise, child

The effects of stimulus pairings on autistic children's vocalizations: Comparing forward and backward pairings

In a procedure known as stimulus-stimulus pairing (Yoon and Bennett, 2000), the experimenter pairs a target sound (e.g., “bah”) with a child's preferred item (e.g., a toy). Even though the stimulus pairings proceed independently of the child's behavior, this procedure has proved capable of increasing imitation of the target sound in developmentally delayed children (Shillingsburg et al., 2015). The underlying behavioral processes remain poorly known, however, and few systematic variations of the basic procedure have been published. In the present experiment, with autistic children as participants, (a) we compared the effects of forward versus backward pairings on the imitation of target sounds, and (b) we evaluated formally the relation between the children's preexisting verbal repertoires and the efficacy of the pairing procedure. As is often reported in the Pavlovian literature, backward pairings promoted lower levels of conditional responding than forward pairings. Also, we found a negative relation between a child's verbal level and pairing efficacy: children with the lower scores on the Behavioral Language Assessment Form (Sundberg and Partington, 1998) exhibited more conditioning. These findings confirm in a single study what has been so far only suspected informally.

Seni Beatbox pada Nasyid Islami dalam Perspektif Hukum Islam

Legal discussion about music in Islam is a forbidden matter. Although there are opinions that allow, but this opinion is weak with the arguments of the Qur'an, the traditions and ijmak of the scholars of the Salaf in their forbidden. The beatbox in Islamic nasheed is in the form of rhythmic sounds such as drum beats, musical instruments, or imitations of other sounds, especially turntables, through human speech instruments such as the mouth, tongue and lips that accompany Islamic nashid as the sounds musical instrument replacement. The purpose of this study was to determine the beatbox law in Islamic nasyid. The research method applies qualitative studies with library research methods and descriptive analysis and uses a normative approach. The results showed that the legal consequences of beatbox art were indeed discussed by the scholars, but the strongest opinion was that it was not allowed. The sounds that come from the human body and the sound resembles the sound of a musical instrument, so the law is haram, both playing it and hearing it. As for Islamic nasheed which does not contain forbidden cases, then the law may.

Reconceptualizing mirroring: Sound imitation and rapport in naturally occurring interaction

This study interrogates the frequently made claim that mirroring behavior is directly linked to interpersonal rapport. The paper proposes a more nuanced conceptualization of the positive effect of mirroring, showing it to be underpinning not affiliation as such but instead speakers' joint commitment to a common interactional cause. The analysis of naturally occurring talk shows that sound imitation is primarily an affiliation-neutral resource that facilitates the progression of interaction. The paper argues that socially embedded mirroring behavior is more than a behavioral manifestation of the motor resonance described in social neuroscience. Mirroring as part of jointly achieved talk is one of several mechanisms for conversational participants to establish progressivity, that is, trajectories of social action, sequence and stance. The data also show that sound mirroring, when it is part of naturally occurring interaction, is not automatic, but that participants choose to mirror, or not. It is proposed that socially situated imitation is reconceptualized as facilitating social collaboration and the joint achievement of interaction more broadly, rather than empathy or rapport in a narrow sense. Such a reconceptualization of mirroring allows us to describe more accurately how humans build sociality.

ГІТАРНА ТВОРЧІСТЬ ШТЕПАНА РАКА: ЖАНРОВО-СТИЛЬОВИЙ ТА ОБРАЗНО-ТЕМАТИЧНИЙ АСПЕКТИ

Мета статті – осмислити здобутки чеського гітариста українського походження Ш. Рака в композиторській творчості для гітари крізь призму жанрової специфіки, стилістики, образної тематики та виконавських форм; виявити фольклорні засади формування композиторської творчості митця; розглянути особливості втілення принципів академічного гітарного виконавства в сольних та ансамблевих творах Ш. Рака. Методологію дослідження складають історичний, джерелознавчий, мистецтвознавчий методи, які дали змогу провести жанрово-стильовий аналіз гітарної творчості композитора й виконавця Ш. Рака та її диференціацію, а також розглянути композиторську творчість Ш. Рака першочергово з позицій типології програмних модусів. Наукову новизну дослідження визначає введення до наукового обігу українського музикознавства загального жанрово-стильового аналізу авторських композицій Ш. Рака для соло гітари та ансамблів за участю гітари, а також класифікація програмних образно-тематичних напрямів його творчості. Висновки. З’ясовано жанрово-стильові характеристики гітарних творів композитора відповідно до основних модусів (різновидів) програмності – звуконаслідувального, фольклорного, жанрового, парафрастичного, психологічно-настроєвого, меморіального, образотворчого, літературного, релігійно-сакрального й ін. Упорядковано жанровий та образно-тематичний спектр гітарної творчості Ш. Рака, що охоплює сольні та ансамблеві композиції – п’єси й мініатюри, великі циклічні форми (концерти, сюїти, сонати, варіації), літературно-музичні композиції, твори навчально-дидактичного спрямування. Доведено, що за стилем творчість митця становить синтезування засад неофольклорного та неоромантичного спрямування.

THE NAMING OF ACEHNESE TRADITIONAL CULINARY

Purpose of the study: The present study is concerned with words belonging to the realm of food and the naming process of the traditional culinary of Aceh Besar. This work presents the types of culinary naming of words naming and their meaning because different language communities can have different conceptualizations of word meaning.
 Methodology: This qualitative research uses ethnographic analysis. The data collection method uses in-depth interview and observation methods following the twelve steps of Spradley’s research called “Gradually Forward Research Flow”.
 Main Findings: The findings indicate that the naming of Aceh Besar culinary is a form of convention agreed upon as a form of common sense and the culture of community members in communicating. The types of the naming of the Acehnese culinary process namely are based on the following: (1) fictitious personality, (2) main material/ingredients, (3) color appearance, (4) cooking process, (5) similarity of appearance, (6) seasoning, (7) taste, (8) cookware, and (9) sound imitation.
 Applications of this study: the result of the study can be used by students and universities, especially the linguist in culinary linguistics area. However, it can be the prior study of Acehnese culinary in linguistics research.
 Novelty/Originality of this study: This research focused on the word and meaning of the culinary lexicon of Aceh Besar. Word and meaning are some of the fields of culinary linguistics which is the study of food in the perspectives of language. This study focused on the word and meaning which is one of the fields of culinary linguistics.

Vocal production learning in the pale spear-nosed bat, Phyllostomus discolor.

Vocal production learning (VPL), or the ability to modify vocalizations through the imitation of sounds, is a rare trait in the animal kingdom. While humans are exceptional vocal learners, few other mammalian species share this trait. Owing to their singular ecology and lifestyle, bats are highly specialized for the precise emission and reception of acoustic signals. This specialization makes them ideal candidates for the study of vocal learning, and several bat species have previously shown evidence supportive of vocal learning. Here we use a sophisticated automated set-up and a contingency training paradigm to explore the vocal learning capacity of pale spear-nosed bats. We show that these bats are capable of directional change of the fundamental frequency of their calls according to an auditory target. With this study, we further highlight the importance of bats for the study of vocal learning and provide evidence for the VPL capacity of the pale spear-nosed bat.

SPECIFICITY OF MODERN RESEARCHES OF ONOMATOPEIC LEXIS

Annotation. The suggested article analyzes the specificity of the study of onomatopoeic lexis in modern linguistics. The main attention is paid to the modern theoretical principles of linguistics, which specify the conceptual basis of onomatopoeia as an object of the phonosemantic studies. Onomatopathic researches occupy a significant place in resolving important linguistic issues, more specifically the problem of motivation of the sign and the origin of the language. According to the modern investigations, the term onomatopoeia is used to denote the direct imitation of sounds of a non-linguistic nature by a combination of segments that are taken from the inventory of phonemes of a particular language. The comprehension of this topic in the Ukrainian and foreign linguistics was facilitated by the researches of many linguists. In all studies, the attention of researchers is focused primarily on onomatopoeic words as examples of the motivation of a linguistic sign. The purpose of the article is to analyze the specificity of modern investigations of onomatopoeic lexis. The object of study is onomatopoeic lexis. Subject of research – peculiarities of modern researches of onomatopoeic lexis. The method of system (field) study and description of languages and cultures, methods of analysis and systematization were used in this research. Summing up the above mentioned, we can emphasize that sound symbolism alongside with onomatopoeia is a part of the onomatopoeic system of the language. The phenomenon of sound symbolism is universal and international. The practical value is stipulated by the possibility of applying the scientific principles and conclusions of the study in the analysis of the actual material of a particular language. As a result, it was found out that the priority in linguistic researches is the study of the phenomenon of onomatopoeia within the framework of the language origin hypothesis, as a part of the phonosemantic means in speech, as well as one of the ways to form new lexemes

ЯЗЫКОВАЯ ПРИРОДА ОНОМАТОПЕИ

The problem of onomatopoeias as a special lexical group has existed in the language for many decades. Onomatopoeias imitate the sounds of nature, the language of animals, objects of the surrounding world. In the text, onomatopoeia can perform various functions: emotional influence, imitation, as well as the function of language economy. But one of its main functions remains sound imaging. In Russia and China, different language pictures, specific cultural elements and linguistic features are noted. All this confirms the large-scale differences in the sound imitations of both languages, and in various aspects: in the composition of the components, in the functional role, in the meanings. Despite the fact that the differences in the phonetic system of Russian and Chinese are quite large, the onomatopoeias and their functions in the languages under consideration have the same features. Onomatopes are an expression of the same emotions, feelings, sounds both in oral speech and in writing. Chinese onomatopes are a graphic copy that attributes us to the actual sounding. This fact makes onomatopoeias in Chinese similar to onomatopes in Russian. The connection of sound and meaning is especially important: linguists study the nature of this connection from different points of view. It is also important to note the difference between sound imitations and similar interjections. Onomatopes are not only part of the system of the Russian and Chinese languages, but are also a progressive link that develops the resources of the language, its word-forming capabilities, as well as the expressive sphere of expression.

Deutsche Wortbildung von der Lautnachahmung der Tiere und Vögel

A specific way of vocabulary enrichment is a formation of soundimitating words and relating phenomena. Sound imitation or onomatopoeia is asound or an imitation of real phenomena. A basis of onomatopoeia in anylanguage is an extralinguistic sounding. Onomatopes and their derivatives arebased on a human imitation of sounds, produced by animate nature and inanimateobjects, while perceiving the reality. Onomatopes are independent words thatserve the basis of words formation that belong to different parts of speech.Onomatopoeic verbs are proved to be their nearest derivatives. The present articledeals with the study of onomatopoeic verbs and nouns, formed by means ofimitating animals and birds sounds. The common feature of these words is the factthat they are produced by imitation. The perspectives of this research seem to betightly connected with the significance of onomatopoeia in the study of Germanword-formation.

Міждисциплінарний підхід до вивчення звукозображальності

Міждисциплінарний підхід до вивчення звукозображальності

Musical Code of Samuel Beckett’s Novel “Murphy”

The paper explores the ways in which music manifests itself on lexical-semantic, structural and rhythmic-syntactic levels of the novel “Murphy” (1938) by Samuel Beckett, whose Anglo- and Francophone writing is an attempt to synthesize prose and music. Beckett’s aesthetic ideas, his understanding of the expressivity of word and music were considerably influenced by Wittgenstein’s philosophy of linguistic skepticism and Schopenhauer’s vision of music as the only way of expressing the essence of the world.
 In his work, not only does Beckett combine the two forms of art through allusions and references, phonetic sound imitation or modeling of particular musical forms, but also makes an attempt to use the imagery of music and its ability to directly express feelings and thoughts, focusing on ‘semantic possibilities’ of music as a metaphor. Being sensitive to the sounding qualities of phrases in his works, Beckett perceived any sounds, even human ones, as music. He saturates the novel “Murphy” with auditory memories, rising and falling sounds, rhythms, melodies and musical categories, which enhance its musical effect. The diversity of musicality in Beckettian text is also manifested in the rhythmic organization, the presence of leitmotifs, and extensive use of verbal and structural repetitions.
 Therefore, Beckett’s method in “Murphy” involves using devices of musical expressiveness, as well as transforming the musical categories into metaphors of different experiences. Simultaneously, the rhythm of repetitions makes the emotional tonality of the work more distinct and creates the effect of intense movement of the consciousness.

Motivation du lexique en bengali : onomatopées et autres termes expressifs

Well-known for its poetry, Bengali deserves our attention for several other specific items, such as onomatopœia, or word-formation “by imitation of natural sounds associated with the act or object to be denoted”, as defines The Penguin English Dictionary ; or else, other expressive terms where “choice of words whose sound fits their sense”. Out of a Corpus of 1680 examples gleaned by the author, out of reliable Bengali dictionaries, adding several more from memory of the spoken language, he is grateful to Mme Anne Szulmajster-Celnikier – as we mention later – who has provided her architechtonics of the subject thanks to her familiarity with the theories dear to Professors André Martinet and Claude Hagège.

Unconventional spoken iconicity follows a conventional structure: Evidence from demonstrations

Some languages have more forms of conventional spoken iconicity than others. Japanese, for example, has more ideophones than English. So how do speakers of a language with limited semantic categories of ideophones depict percepts? One possibility is demonstrations: unconventional, yet depictive, discourse. Demonstrations follow quotatives (e.g., I was like ___) and perform referents as opposed to describing them. In English, a language with arguably restricted sets of ideophones, speakers may enact/create demonstrations using their hands, voice, and body. This paper examines which visual and spoken components are vital to comprehending demonstrations in English with features from Güldemann's (2008) observations: enacted verbal behaviour, non-linguistic vocal imitation, ideophones, and representational gesture. 28 videos containing demonstrations of 11 celebrities engaging in impromptu storytelling on USA talk shows were our critical stimuli. 145 native speakers completed forced multiple-choice judgement tasks to qualify each demonstration. To see which forms of visual and spoken communication contributed to comprehension, videos were presented in visual (muted), audio (pixelated and darkened), and audio–visual (left as is) conditions. Our results show that if arbitrary speech (e.g., I was like I can't go over the ocean!) is in a demonstration, then it is vital to comprehension. The visual condition rendered these demonstrations uninterpretable. If sound imitations (e.g., I was like prfff!) or ideophones coupled with hand gesture (e.g., I was like yay! + hands opening and closing in unison) are in a demonstration, then the interpretability of that demonstration across our experimental conditions depends on whether its components (gesture, sound imitation) can unambiguously express meaning in isolation. These findings allow us to make several conjectures about the wellformedness of demonstrations. Our findings are in line with studies on enactments in deaf signed languages whereby the more unconventional a form of iconic depiction is, the more it requires conventional framing to be interpretable.

Vocal imitation of percussion sounds: On the perceptual similarity between imitations and imitated sounds.

Recent studies have demonstrated the effectiveness of the voice for communicating sonic ideas, and the accuracy with which it can be used to imitate acoustic instruments, synthesised sounds and environmental sounds. However, there has been little research on vocal imitation of percussion sounds, particularly concerning the perceptual similarity between imitations and the sounds being imitated. In the present study we address this by investigating how accurately musicians can vocally imitate percussion sounds, in terms of whether listeners consider the imitations ‘more similar’ to the imitated sounds than to other same–category sounds. In a vocal production task, 14 musicians imitated 30 drum sounds from five categories (cymbals, hats, kicks, snares, toms). Listeners were then asked to rate the similarity between the imitations and same–category drum sounds via web based listening test. We found that imitated sounds received the highest similarity ratings for 16 of the 30 sounds. The similarity between a given drum sound and its imitation was generally rated higher than for imitations of another same–category sound, however for some drum categories (snares and toms) certain sounds were consistently considered most similar to the imitations, irrespective of the sound being imitated. Finally, we apply an existing auditory image based measure for perceptual similarity between same–category drum sounds, to model the similarity ratings using linear mixed effect regression. The results indicate that this measure is a good predictor of perceptual similarity between imitations and imitated sounds, when compared to acoustic features containing only temporal or spectral features.

Spontaneous emergence of language-like and music-like vocalizations from an artificial protolanguage

AbstractHow did human vocalizations come to acquire meaning in the evolution of our species? Charles Darwin proposed that language and music originated from a common emotional signal system based on the imitation and modification of sounds in nature. Thisprotolanguageis thought to have diverged into two separate systems, with speech prioritizingreferentialfunctionality and music prioritizingemotionalfunctionality. However, there has never been an attempt to empirically evaluate the hypothesis that a single communication system can split into two functionally distinct systems that are characterized by music- and languagelike properties. Here, we demonstrate that when referential and emotional functions are introduced into an artificial communication system, that system will diverge into vocalization forms with speech- and music-like properties, respectively. Participants heard novel vocalizations as part of a learning task. Half referred to physical entities and half functioned to communicate emotional states. Participants then reproduced each sound with the defined communicative intention in mind. Each recorded vocalization was used as the input for another participant in a serial reproduction paradigm, and this procedure was iterated to create 15 chains of five participants each. Referential vocalizations were rated as morespeech-like, whereas emotional vocalizations were rated as moremusic-like, and this association was observed cross-culturally. In addition, a stable separation of the acoustic profiles of referential and emotional vocalizations emerged, with some attributes diverging immediately and others diverging gradually across iterations. The findings align with Darwin’s hypothesis and provide insight into the roles of biological and cultural evolution in the divergence of language and music.

Vakhtang Kakhidze’s Creative Work in the Context of the Relation Between Jazz and Academic Music

Twentieth-century art is characterized by its striving for synthesis, which gave rise to a number of new styles and genres. The creative mutual influence of jazz and academic music is one of the brightest manifestations of this process. Jazz has greatly influenced classical music, and academic music, in turn, has determined important paths for the development of jazz. This issue has not been studied in Georgian musicology to date. As an example of this process, the article discusses Vakhtang Kakhidze’s creative work, with a focus on his concerto for piano and symphony orchestra, and “Bruderschaft” for viola, piano and string orchestra. Areas of research include: the application of jazz musical-linguistic resources and adaptation of its individual elements as a means for updating traditional musical language; imitation of jazz sounds with traditional classical instruments – “coloration” in jazz style; and the structural integration of jazz expressive techniques and classical music. In Vakhtang Kakhidze’s creative work, jazz is a model for stylization, an artistic face of the epoch, a means of expression, a principle of thought, and a symbol of identity. Ethno jazz is one of the means for the identification and self-expression of his “I” as a composer. The discussed works reveal the result of Vakhtang Kakhidze's compositional quest, closely related to the idea of the synthesis of jazz and academic art. Stylistic features of jazz art, improvisation as a principle of thinking, solid compositional genres of academic music, classical forms and peculiarities of Georgian folk music organically coexist in both of these examples of the composer’s academic music. It is concluded that among Georgian composers of the 1980s, Vakhtang Kakhidze’s works most clearly reflect the synthesis of European compositional technique and jazz traditions.