1,720,962 research outputs found
Are conical segments useful for vocal-tract simulation? (L)
No full textA time-domain model for nonuniform tubes is considered which is of similar simplicity as the Kelly-Lochbaum model but based on conical segments. Using the bilinear transform or wave digital filters for representing the reflections at the segment boundaries, stability is proved and numerical instabilities can be overcome. The transfer functions are modeled better than with cylindrical segments but about equally well as with half-length cylinders, requiring about the same computational expense. Thus, in most cases there is no real advantage in using cones. (C) 2003 Acoustical Society of America
The meaning of the Kelly–Lochbaum acoustic-tube model
No full textThe scattering equations of the Kelly-Lochbaum segmented tube, including the time-varying extension, by Strube, are originally based on the assumption of uniform spatial segments and stepwise time update of the acoustic impedances. Here, it is shown that the same equations can be derived without these assumptions for a nonuniform time-varying tube from the discretization of space and time derivatives by the bilinear z transform or by centered differences along the rotated coordinates ct+/-x. Moreover, the same equations also hold for a chain of lattice circuits (or equivalents) with appropriate parameters, if time derivatives are discretized by the bilinear z transform. These circuits can also be extended to simulate uniform segments of varying length. (C) 2000 Acoustical Society of America. [S0001-4966(00)04310-1]
SIM - simultaneous inverse filtering and matching of a glottal flow model for acoustic speech signals
No full textA new method "simultaneous inverse filtering and model matching" (SIM) is proposed that allows one to calculate voice source measures without any user interaction. It is based on the discrete all-pole modeling (DAP) technique for inverse filtering (IF), which is modified to include a model of the glottal flow as integral part [LF model, Fant ct al., STL-QPSR (Stockholm) 4/1985, 1-13 (1986)]. As the correct LF parameters are initially unknown, they are estimated in an iterative procedure using multi-dimensional optimization techniques that are initialized according to the results of an exhaustive search. The error criteria applied reflect how well the IF is performed after the spectral contribution of the glottal flow has been removed. The resulting optimal LF parameter constellation serves as the basis to calculate 11 voice source measures. The performance was evaluated using synthesized signals and recordings of natural utterances. For the synthesized signals, the accuracy to reproduce the original parameters was high (correlations exceeding 0.88) for measures where the starting point of the glottal cycle did not enter explicitly. Errors were smaller compared to conventional estimation methods where the measures were estimated from the IF signal. The analysis of natural utterances indicates that problems still exist with regard to robustness, but that under advantageous conditions the open quotient, the speed quotient, the closing quotient, the parabolic spectral parameter, and the negative peak amplitude of the glottal flow derivative can indeed be determined automatically by the SIM method. (C) 2001 Acoustical Society of America
SIM - simultaneous inverse filtering and matching of a glottal flow model for acoustic speech signals
No full textA new method "simultaneous inverse filtering and model matching" (SIM) is proposed that allows one to calculate voice source measures without any user interaction. It is based on the discrete all-pole modeling (DAP) technique for inverse filtering (IF), which is modified to include a model of the glottal flow as integral part [LF model, Fant ct al., STL-QPSR (Stockholm) 4/1985, 1-13 (1986)]. As the correct LF parameters are initially unknown, they are estimated in an iterative procedure using multi-dimensional optimization techniques that are initialized according to the results of an exhaustive search. The error criteria applied reflect how well the IF is performed after the spectral contribution of the glottal flow has been removed. The resulting optimal LF parameter constellation serves as the basis to calculate 11 voice source measures. The performance was evaluated using synthesized signals and recordings of natural utterances. For the synthesized signals, the accuracy to reproduce the original parameters was high (correlations exceeding 0.88) for measures where the starting point of the glottal cycle did not enter explicitly. Errors were smaller compared to conventional estimation methods where the measures were estimated from the IF signal. The analysis of natural utterances indicates that problems still exist with regard to robustness, but that under advantageous conditions the open quotient, the speed quotient, the closing quotient, the parabolic spectral parameter, and the negative peak amplitude of the glottal flow derivative can indeed be determined automatically by the SIM method. (C) 2001 Acoustical Society of America
Acoustic voice analysis by means of the hoarseness diagram
No full textThe hoarseness diagram (Michaelis, Frohlich, & Strube, 1998a) has been proposed as a new approach to describe different acoustic properties of voices. To test its performance in the analysis of pathologically disturbed and normal voices five requirements are suggested that should be met by any acoustic voice-analysis protocol to be used in voice research and clinical practice. The hoarseness diagram is then tested with regard to these requirements. Individual voices are Found to show a satisfactory localization in the diagram. Aspects of stationarity are discussed in the context of four case studies. The different cases illustrate that changes in the acoustic analysis results are observed if the voice-generation conditions change, whereas results are stationary if phonation conditions do not change. Different pathological voice groups defined on grounds of the specific phonation mechanism are found to map to specific regions of the hoarseness diagram, with differences between group locations being significant. All results can be interpreted without exceptions if the two hoarseness diagram coordinates are taken to reflect the vibrational irregularity of the voice-generation mechanisms on the one side and the degree of closure of the vibrating structures on the other side. The hoarseness diagram and its underlying algorithms are thus shown to constitute a useful approach to acoustic voice analysis in research and clinical practice. The tests themselves demonstrate several application possibilities, including the quantitative monitoring of individual voices
Acoustic voice analysis by means of the hoarseness diagram
No full textThe hoarseness diagram (Michaelis, Frohlich, & Strube, 1998a) has been proposed as a new approach to describe different acoustic properties of voices. To test its performance in the analysis of pathologically disturbed and normal voices five requirements are suggested that should be met by any acoustic voice-analysis protocol to be used in voice research and clinical practice. The hoarseness diagram is then tested with regard to these requirements. Individual voices are Found to show a satisfactory localization in the diagram. Aspects of stationarity are discussed in the context of four case studies. The different cases illustrate that changes in the acoustic analysis results are observed if the voice-generation conditions change, whereas results are stationary if phonation conditions do not change. Different pathological voice groups defined on grounds of the specific phonation mechanism are found to map to specific regions of the hoarseness diagram, with differences between group locations being significant. All results can be interpreted without exceptions if the two hoarseness diagram coordinates are taken to reflect the vibrational irregularity of the voice-generation mechanisms on the one side and the degree of closure of the vibrating structures on the other side. The hoarseness diagram and its underlying algorithms are thus shown to constitute a useful approach to acoustic voice analysis in research and clinical practice. The tests themselves demonstrate several application possibilities, including the quantitative monitoring of individual voices
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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