BibTex RIS Kaynak Göster

Yıl 2017, Cilt: 5 Sayı: 2, 368 - 377, 01.01.2017

Şahin Saruhan

Öz

Kavramların yerindeliği hususu bilim insanları açısından önemli bir sorundur. Sorunu üreten temel etmenin, söz konusu bir kavramın zorlama bir şekilde genişletilmesi veya aynı bulguya/şeye, literatürde gereksiz bir kavramsal karmaşa ve belirsizlik yaratma potansiyeli üretecek şekilde, farklı isimler verilmesi olduğu görülür. Bu çalışmada, spektral olarak 3-4 kHz bölgede görülen enerji sıçramasının konuşmacı formantı, aktör formantı, haykırma formantı ve çağırma formant demeti gibi farklı isimlerle anılmasının sakıncaları ele alınmıştır. Söz konusu akustik kavramsallaştırılmasının, basit ve bir o kadar da doğru olacağı sonucuna varılmıştır

Kaynakça

  • Austin S. F. (2005). Treasure “Chest”: A Physiological and Pedagogical Review of the Lower Mechanism. Journal of Singing, 61(3), 241-251.
  • Bele I. V. (2006). The Speaker’s Formant. J Voice, 20(4): 555-578.
  • Boersma P. & Kovačić G. (2006). Spectral characteristics of three styles of Croatian folk singing. The Journal of the Acoustical Society of America, 119(3), 1805-1816.
  • Borch D.Z. & Sundberg J. (2002). Spectral distribution of solo voice and accompaniment in pop music. TMH-QPSR, 43(1), 31-35.
  • Buller J. & Gamble A. (2002). Conceptualizing Europeanization. Public Policy and Administration, 17(2), 4-24.
  • Castellengo M. (2005). Manuel Garcia Jr: A clear-sighted observer of human voice production. Logopedics Phoniatrics Vocology, 30(3), 163-170.
  • Cleveland T. F. Sundberg J. & Stone R. E. (2001). Long term-average spectrum characteristics of country singers during speaking and singing. J Voice, 15(1), 54-60.
  • Dong L. Kong J. & Sundberg J. (2014). Long-Term-Average Spectrum Characteristics of Kunqu Opera Singers' Speaking, Singing and Stage Speech. Logopedics Phoniatrics Vocology, 39(2), 72-80.
  • Gerring J. (1999). What Makes a Concept Good? A Criterial Framework for Understanding Concept Formation in the Social Sciences. Polity, 31(3), 357-393.
  • Harling M. & Sundberg P. (1998). Taxonomy and Philosophy of Names. Biology and Philosophy, 13, 233-244.
  • Henrich N. (2006). Mirroring the voice from Garcia to the present day: Some insights into singing voice registers. Logopedics Phoniatrics Vocology., 31(1), 3-14.
  • Henrich N. Roubeau B. & Castellengo M. (2003). On the use of electroglottography for characterization of the laryngeal mechanisms. In: Proceedings of Stockholm Music Acoustics Conference (SMAC 03), Stockholm, Sweden.
  • Hunter E. J. & Titze I. R. (2005). Overlap of hearing and voicing ranges in singing. Journal of Singing, 61(4), 387-392.
  • Jordan G. Halpin D. & Maloney W. (2004). Defining Interests: Disambiguation and the Need for New Distinctions? BJPIR, 6, 195-212.
  • Kovačić G. Boersma P. & Domitrevic H. (2003). Long-Term Average Spectra in Professional Folk Singing Voices: A Comparison of the Klapa and Dozivački Styles. Institute of Phonetic Sciences, University of Amsterdam, Proceedings, 25, 53–64.
  • Kurt Y. (2012). Kur’ân’ın Korunmasında Hâfızlık Müessesesi. Hitit Univ. İlahiyat Fakül. Derg., 11,229–251.
  • Lamesch S. Expert R, Castellengo M. Henrich N & Chuberre B. (2007). Investigating voix mixte: A scientific challenge towards a renewed vocal pedagogy. CIM07 proceedings.
  • Leino T. (2009). Long-term average spectrum in screening of voice quality in speech: untrained male university students. J Voice, 23(6), 671-676.
  • Leino T. Laukkanen A-M. & Radolf V. (2011). Formation of the Actor’s/Speaker’s Formant: A Study Applying Spectrum Analysis and Computer Modeling. J Voice, 25(2), 150-158.
  • Master S. De Biase N. Chiari B. M. & Laukkanen A-M. (2008). Acoustic and perceptual analyses of Brazilian male actors’ and nonactors’ voices: long-term average spectrum and the ‘actor‘s formant’. J Voice, 22, 146-154.
  • Master S. De Biase N. & Madudeira S. (2012). What About the “Actor’s Formant” in Actresses’ Voices? J Voice, 26(3), e117-e122.
  • Mendes A. P. Rothman H. B. Sapienza C. & Brown W. S. (2003). Effects of vocal training on the acoustic parameters of the singing voice. J Voice, 17(4), 529-543.
  • Miller R. & Kiesgen P. (2006). Voice Pedagogy: Registration. Journal of Singing, 62(5), 537-539.
  • Mitrović B. (2011). Attribution of concepts and problems with anachronism. History and Theory, 50(3), 303-327.
  • Mörner M. Fransson F. & Fant G. (1963). Voice register terminology and standard pitch. STLQPSR, 4(4), 17-23.
  • Nawka T. Anders L. C. Cebulla M. & Zurakowski D. (1997). The speaker’s formant in male voices. J Voice, 11(4), 422-428.
  • Peteet J. (2005). Words as interventions: naming in the Palestine – Israel conflict. Third World Quarterly, 26(1), 153-172.
  • Pinczower R. & Oates J. (2005).Vocal Projection in Actors: The Long-Term Average Spectral Features That Distinguish Comfortable Acting Voice From Voicing With Maximal Projection in Male Actors. J Voice,19(3), 440-453.
  • Quaranta M. (2013). Fuzzy set theory and concepts: A proposal for concept formation and operationalization. Comparative Sociology, 12(6), 785-820.
  • Raichel D. R. (2006). The Science and Applications of Acoustics. 2th ed., Springer. Reid C. (1997). Vocal Mechanics. Journal of Singing, 54(1), 11-18.
  • Roubeau B. Henrich N. & Castellengo M. (2009). Laryngeal Vibratory Mechanisms: The Notion of Vocal Register Revisited. J Voice, 23(4), 425-438
  • Sartori G. (1970). Concept Misformation in Comparative Politics. American Political Science Review, 64(4), 1033-1053.
  • Saruhan S. (2014). Opera-dışı vokal icra türlerinde bir akustik görüngü: konuşmacı/aktör formantı. The Journal of Academic Social Science Studies, 29 (Autumn III), 293-312. Doi: http://dx.doi.org/10.9761/JASSS2548.
  • Saruhan S. (2016). Şarkıcı formantı: bir zorunluluk mu yoksa tercih mi? The Journal of Academic Social Science Studies, 50 (Autumn II), 273-296. Doi: http://dx.doi.org/10. 9761/JASSS3631.
  • Saruhan S., Guclu E. & Ertugrul A. (In Press). Spectrographic and Electroglottographic Findings of Religious Vocal Performers in Düzce Province of Turkey.
  • Singh A. R. (2011). Science, Names Giving and Names Calling: Change NDM-1 to PCM. In: (Singh A.R. and Singh S.A. eds.) Brain, Mind and Consciousness: An International, Interdisciplinary Perspective, MSM, 9(1), 294-319.
  • Singh A. R. (2012). Proposal about Scientific Names Giving. Mens Sana Monogr., 10, 181-183.
  • Stoffels H. E. (2011). Acoustic Analysis of Actresses' Voices. Master’s Thesis, University of Utrecht.
  • Sundberg J. (1968). Formant frequencies of bass singers.STL-QPSR,17(1), 1-6.
  • Sundberg J. (1972). A perceptual function of the “singing formant”. STL-QPSR, 2-3(13), 61-63.
  • Sundberg J. (1974). Articulatory interpretation of the ‘singing formant’. J Acoust Soc Am. 55, 838-844.
  • Sundberg J. (1979). Perception of singing. STL-QPSR, 20(1), 1-48.
  • Sundberg J. (2001). Level and Center Frequency of the Singer’s Formant. J Voice, 15(2), 176- 186.
  • Sundberg J. (2006). The KTH Synthesis of Singing. Advances in Cognitive Psychology, 2(2-3), 131-143.
  • Sundberg J. & Romedahl C. (2009). Text Intelligibility and the Singer's Formant-A Relationship? J Voice, 23(5), 539-545.
  • Sundberg J. Gu L. Huang Q. & Huang P. (2012). Acoustical study of classical Peking opera singing. J Voice, 26(2), 137-143.
  • Titze I. R. (2001). The Larynx and the Ear - How Well Do They Match? Journal of Singing, 57(5), 41-43.
  • Vennard W. L. (1967). Singing: the mechanism and the technic. New York: Carl Fischer.
  • Vest J. C. (2009).Adolphe Nourrit, Gilbert-Louis Duprez, and Transformations of Tenor Technique in the Early Nineteenth Century: Historical and Physiological Considerations. Doctoral Dissertation, University of Kentucky.
  • Warhurst S. McCabe P. Yiu E. Heard R. & Madill C. (2013). Acoustic Characteristics of Male Commercial and Public Radio Broadcast Voices. J Voice, 27(5), 655, e1-e7.
  • Wells B. (2006). On the voice-Belt Technique: Research, Acoustics, and Possible World Music Applications. Choral Journal, 46(9), 65-77.

Is it the speaker's formant, actor's formant, shouting formant or calling formant cluster?: A proposal for a more proper name/concept

Yıl 2017, Cilt: 5 Sayı: 2, 368 - 377, 01.01.2017

Şahin Saruhan

Öz

Appropriateness of concepts is a trouble of social and natural scientists. The main problem was created generally by conceptual stretching or assigning different names to the same thing that created an abundance of concepts that have potential to cause unnecessary complexity and uncertainty in the literature. The present study examined the drawbacks of calling the 3-4 kHz spectral energy peak with different names; speaker’s formant, actor’s formant, shouting formant and calling formant cluster. It concluded that, to call the given acoustical phenomenon as the 3-4 kHz peak P3-4kHz may be as simple as it is correct, too

Anahtar Kelimeler

P3-4kHz Speaker’s Formant Actor’s Formant Shouting Formant Conceptualization

Kaynakça

  • Austin S. F. (2005). Treasure “Chest”: A Physiological and Pedagogical Review of the Lower Mechanism. Journal of Singing, 61(3), 241-251.
  • Bele I. V. (2006). The Speaker’s Formant. J Voice, 20(4): 555-578.
  • Boersma P. & Kovačić G. (2006). Spectral characteristics of three styles of Croatian folk singing. The Journal of the Acoustical Society of America, 119(3), 1805-1816.
  • Borch D.Z. & Sundberg J. (2002). Spectral distribution of solo voice and accompaniment in pop music. TMH-QPSR, 43(1), 31-35.
  • Buller J. & Gamble A. (2002). Conceptualizing Europeanization. Public Policy and Administration, 17(2), 4-24.
  • Castellengo M. (2005). Manuel Garcia Jr: A clear-sighted observer of human voice production. Logopedics Phoniatrics Vocology, 30(3), 163-170.
  • Cleveland T. F. Sundberg J. & Stone R. E. (2001). Long term-average spectrum characteristics of country singers during speaking and singing. J Voice, 15(1), 54-60.
  • Dong L. Kong J. & Sundberg J. (2014). Long-Term-Average Spectrum Characteristics of Kunqu Opera Singers' Speaking, Singing and Stage Speech. Logopedics Phoniatrics Vocology, 39(2), 72-80.
  • Gerring J. (1999). What Makes a Concept Good? A Criterial Framework for Understanding Concept Formation in the Social Sciences. Polity, 31(3), 357-393.
  • Harling M. & Sundberg P. (1998). Taxonomy and Philosophy of Names. Biology and Philosophy, 13, 233-244.
  • Henrich N. (2006). Mirroring the voice from Garcia to the present day: Some insights into singing voice registers. Logopedics Phoniatrics Vocology., 31(1), 3-14.
  • Henrich N. Roubeau B. & Castellengo M. (2003). On the use of electroglottography for characterization of the laryngeal mechanisms. In: Proceedings of Stockholm Music Acoustics Conference (SMAC 03), Stockholm, Sweden.
  • Hunter E. J. & Titze I. R. (2005). Overlap of hearing and voicing ranges in singing. Journal of Singing, 61(4), 387-392.
  • Jordan G. Halpin D. & Maloney W. (2004). Defining Interests: Disambiguation and the Need for New Distinctions? BJPIR, 6, 195-212.
  • Kovačić G. Boersma P. & Domitrevic H. (2003). Long-Term Average Spectra in Professional Folk Singing Voices: A Comparison of the Klapa and Dozivački Styles. Institute of Phonetic Sciences, University of Amsterdam, Proceedings, 25, 53–64.
  • Kurt Y. (2012). Kur’ân’ın Korunmasında Hâfızlık Müessesesi. Hitit Univ. İlahiyat Fakül. Derg., 11,229–251.
  • Lamesch S. Expert R, Castellengo M. Henrich N & Chuberre B. (2007). Investigating voix mixte: A scientific challenge towards a renewed vocal pedagogy. CIM07 proceedings.
  • Leino T. (2009). Long-term average spectrum in screening of voice quality in speech: untrained male university students. J Voice, 23(6), 671-676.
  • Leino T. Laukkanen A-M. & Radolf V. (2011). Formation of the Actor’s/Speaker’s Formant: A Study Applying Spectrum Analysis and Computer Modeling. J Voice, 25(2), 150-158.
  • Master S. De Biase N. Chiari B. M. & Laukkanen A-M. (2008). Acoustic and perceptual analyses of Brazilian male actors’ and nonactors’ voices: long-term average spectrum and the ‘actor‘s formant’. J Voice, 22, 146-154.
  • Master S. De Biase N. & Madudeira S. (2012). What About the “Actor’s Formant” in Actresses’ Voices? J Voice, 26(3), e117-e122.
  • Mendes A. P. Rothman H. B. Sapienza C. & Brown W. S. (2003). Effects of vocal training on the acoustic parameters of the singing voice. J Voice, 17(4), 529-543.
  • Miller R. & Kiesgen P. (2006). Voice Pedagogy: Registration. Journal of Singing, 62(5), 537-539.
  • Mitrović B. (2011). Attribution of concepts and problems with anachronism. History and Theory, 50(3), 303-327.
  • Mörner M. Fransson F. & Fant G. (1963). Voice register terminology and standard pitch. STLQPSR, 4(4), 17-23.
  • Nawka T. Anders L. C. Cebulla M. & Zurakowski D. (1997). The speaker’s formant in male voices. J Voice, 11(4), 422-428.
  • Peteet J. (2005). Words as interventions: naming in the Palestine – Israel conflict. Third World Quarterly, 26(1), 153-172.
  • Pinczower R. & Oates J. (2005).Vocal Projection in Actors: The Long-Term Average Spectral Features That Distinguish Comfortable Acting Voice From Voicing With Maximal Projection in Male Actors. J Voice,19(3), 440-453.
  • Quaranta M. (2013). Fuzzy set theory and concepts: A proposal for concept formation and operationalization. Comparative Sociology, 12(6), 785-820.
  • Raichel D. R. (2006). The Science and Applications of Acoustics. 2th ed., Springer. Reid C. (1997). Vocal Mechanics. Journal of Singing, 54(1), 11-18.
  • Roubeau B. Henrich N. & Castellengo M. (2009). Laryngeal Vibratory Mechanisms: The Notion of Vocal Register Revisited. J Voice, 23(4), 425-438
  • Sartori G. (1970). Concept Misformation in Comparative Politics. American Political Science Review, 64(4), 1033-1053.
  • Saruhan S. (2014). Opera-dışı vokal icra türlerinde bir akustik görüngü: konuşmacı/aktör formantı. The Journal of Academic Social Science Studies, 29 (Autumn III), 293-312. Doi: http://dx.doi.org/10.9761/JASSS2548.
  • Saruhan S. (2016). Şarkıcı formantı: bir zorunluluk mu yoksa tercih mi? The Journal of Academic Social Science Studies, 50 (Autumn II), 273-296. Doi: http://dx.doi.org/10. 9761/JASSS3631.
  • Saruhan S., Guclu E. & Ertugrul A. (In Press). Spectrographic and Electroglottographic Findings of Religious Vocal Performers in Düzce Province of Turkey.
  • Singh A. R. (2011). Science, Names Giving and Names Calling: Change NDM-1 to PCM. In: (Singh A.R. and Singh S.A. eds.) Brain, Mind and Consciousness: An International, Interdisciplinary Perspective, MSM, 9(1), 294-319.
  • Singh A. R. (2012). Proposal about Scientific Names Giving. Mens Sana Monogr., 10, 181-183.
  • Stoffels H. E. (2011). Acoustic Analysis of Actresses' Voices. Master’s Thesis, University of Utrecht.
  • Sundberg J. (1968). Formant frequencies of bass singers.STL-QPSR,17(1), 1-6.
  • Sundberg J. (1972). A perceptual function of the “singing formant”. STL-QPSR, 2-3(13), 61-63.
  • Sundberg J. (1974). Articulatory interpretation of the ‘singing formant’. J Acoust Soc Am. 55, 838-844.
  • Sundberg J. (1979). Perception of singing. STL-QPSR, 20(1), 1-48.
  • Sundberg J. (2001). Level and Center Frequency of the Singer’s Formant. J Voice, 15(2), 176- 186.
  • Sundberg J. (2006). The KTH Synthesis of Singing. Advances in Cognitive Psychology, 2(2-3), 131-143.
  • Sundberg J. & Romedahl C. (2009). Text Intelligibility and the Singer's Formant-A Relationship? J Voice, 23(5), 539-545.
  • Sundberg J. Gu L. Huang Q. & Huang P. (2012). Acoustical study of classical Peking opera singing. J Voice, 26(2), 137-143.
  • Titze I. R. (2001). The Larynx and the Ear - How Well Do They Match? Journal of Singing, 57(5), 41-43.
  • Vennard W. L. (1967). Singing: the mechanism and the technic. New York: Carl Fischer.
  • Vest J. C. (2009).Adolphe Nourrit, Gilbert-Louis Duprez, and Transformations of Tenor Technique in the Early Nineteenth Century: Historical and Physiological Considerations. Doctoral Dissertation, University of Kentucky.
  • Warhurst S. McCabe P. Yiu E. Heard R. & Madill C. (2013). Acoustic Characteristics of Male Commercial and Public Radio Broadcast Voices. J Voice, 27(5), 655, e1-e7.
  • Wells B. (2006). On the voice-Belt Technique: Research, Acoustics, and Possible World Music Applications. Choral Journal, 46(9), 65-77.
Toplam 51 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Araştırma Makalesi
Yazarlar

Şahin Saruhan Bu kişi benim

Yayımlanma Tarihi 1 Ocak 2017
Yayımlandığı Sayı Yıl 2017 Cilt: 5 Sayı: 2

Kaynak Göster

IEEE Ş. Saruhan, “Is it the speaker’s formant, actor’s formant, shouting formant or calling formant cluster?: A proposal for a more proper name/concept”, Researcher, c. 5, sy. 2, ss. 368–377, 2017.

The journal "Researcher: Social Sciences Studies" (RSSS), which started its publication life in 2013, continues its activities under the name of "Researcher" as of August 2020, under Ankara Bilim University.
It is an internationally indexed, nationally refereed, scientific and electronic journal that publishes original research articles aiming to contribute to the fields of Engineering and Science in 2021 and beyond.
The journal is published twice a year, except for special issues.
Candidate articles submitted for publication in the journal can be written in Turkish and English. Articles submitted to the journal must not have been previously published in another journal or sent to another journal for publication.