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    Tytuł:
    Dźwięki reaktywne, dźwięki antycypujące. Z zagadnień funkcjonowania ścieżki dźwiękowej w grach wideo
    Features of the reactive and anticipating sounds in video games
    Autorzy:
    Pigulak, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/1047433.pdf
    Data publikacji:
    2021-03-31
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    ludomusicology
    interactive music
    reactive sounds
    adaptive sounds
    anticipating sounds
    Opis:
    The paper aims to outline features of video games’ sounds. In order to do that, the author presents the main thesis of ludomusicology and a theory of film music. The first part of the paper deals with a brief introduction concerning the characteristic of two important aspects of video games’ sounds: reactive and anticipating sounds. In the second part of the paper, the author explores the issue of facultative dialogues and adaptive sounds, as well as diegetic and non-diegetic sources of sound. The author examines the hypothesis that using sounds in video games determines gameplay and impacts players immersion.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 317-327
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Federico Incardona and Giovanni Damiani
    Autorzy:
    Carapezza, Paolo Emilio
    Powiązania:
    https://bibliotekanauki.pl/articles/780337.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Federico Incardona
    Giovanni Damiani
    University of Palermo
    Post-serial dodecaphony
    Heterophony
    Natural harmonic sounds
    Abstract expressionism
    Sound vegetation
    Thought in sounds
    Sound architecture
    Opis:
    Together with Sciarrino and Casale, Incardona and Damiani are the most important composers trained at Palermo University’s Musicological Institute. Federico Incardona (Palermo, 1958-2006) reconciles the social commitment of Berg and the political tension of Nono with the sublimated eroticism of Szymanowski. If Nono’s works, like those of Evangelisti in a different way, blend dodecaphonic dialectic with the corporeity of the sound of Varèse, Incardona blends Evangelisti’s sonorous cosmogony with the erotic immediateness of Bussotti. But his principal reference point is Mahler. His music is rich in meaning and strong emotional intensity, concentrated and sublimated: it is like “processes of denuding of the melody, carnal embraces between the parts, dodecaphonic series modelled on the body of the loved one” (Spagnolo). Its “new linearity and temporal tension”, is wedded to the “absolute primacy of expression and emotion”, in full awareness of the “deep unity of emotion and knowledge” (Lombardi Vallauri). Indeed, in the intense expressionism of his music, dodecaphonic construction is always at the service of a dialectical discourse which is dense and deep, but - in his last works - clear and fluid like a melody by Bellini. “Infinite melos”, Marc Crescimanno defines it: harmonic richness and dense hétérophonie complexities are blended; the counterpoint is based “on the superimposition of manifold variations on the same figure, with precise control of the vertical encounters on its melodic-harmonic hinges”. Born into a dynasty of engineers and architects, Giovanni Damiani (Palermo, 1966) is himself an engineer and architect, but in sound space. Rather than music, his works are organized Sound: “embodiment of the intelligence inherent in sounds themselves”, in the manner of Varèse, and specifically “sound vegetation”, in the manner of Bartok. His most important work, Salve follie precise (1998-2004: on a libretto in verse by Francesco Carapezza, based on Semmelweis et l’infection puerpérale that Louis-Ferdinand Céline wrote between 1924 and 1929), represents precisely the germination of life (of algae from water, of grass from rock, of man from woman, of sounds from Sound) and the threats of death that surround it, that is to say of regression of the animal and vegetable kingdoms to the mineral kingdom. In it Damiani exclusively uses, as previously in the great symphony Matrice/Organon (1995), natural harmonic sounds. We thus assist at harmonic germination; Sound generates sounds, the Note generates notes. If Damiani as a musicologist follows on from Réti, as a composer he follows on from Schenker. For him the note, seen as pure Sound internally structured a priori, is everything: the universe of artistic creation in sound space is only unfolding of the tension internal to the note itself. Everything (melody, tonality, polyphony, harmony), as Cesare Brandi wrote, “comes from the very nature of the note, which is, in the stratification of harmonics, tonic, isolated note (of a melody), vertical chord and horizontal encounter of polyphonic lines”.
    Źródło:
    Interdisciplinary Studies in Musicology; 2013, 12; 41-56
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    New vs. similar sound production accuracy: The uneven fight
    Autorzy:
    Sypiańska, Jolanta
    Constantin, Elena-Raluca
    Powiązania:
    https://bibliotekanauki.pl/articles/2135324.pdf
    Data publikacji:
    2021-09-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    new and similar sounds
    schwa
    production accuracy
    foreign accent rating
    level of proficiency
    Opis:
    The Speech Learning Model states that the process of equivalence classification reduces the accuracy of a similar L2 sound by forming an L1-L2 merged category whereas new sounds tend to be pronounced with greater accuracy due to lack of perceptual linkage with an L1 category (Flege 1995). We found further support for this differentiation in the production of the canonical schwa as a new sound by L1 Polish/L2 English speakers and as a similar sound by L1 Romanian/L2 English speakers, who produced an L1-L2 schwa merger. The aim of the current paper is to further investigate the production accuracy of new and similar sounds. First of all, a control group that consisted of native Romanian speakers was used to analyse the L1-L2 similar sound merger. Secondly, a measure of overall pronunciation ability based on foreign accent ratings (FAR) was included. The results confirm that production accuracy for new sounds is much greater than for similar sounds which form merged diaphones with the equivalent L1 sound. As a result, neither sound is produced on target when compared to a native speaker reference. Moreover, new sound production accuracy benefits much more from an increase in general proficiency and overall L2 pronunciation ability.
    Źródło:
    Yearbook of the Poznań Linguistic Meeting; 2021, 7, 1; 155-179
    2449-7525
    Pojawia się w:
    Yearbook of the Poznań Linguistic Meeting
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Salvatore Sciarrino. The Sicilian alchemist composer
    Autorzy:
    Misuraca, Pietro
    Powiązania:
    https://bibliotekanauki.pl/articles/780301.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Sciarrino
    Alchemist
    Virtuosity
    Shades of sounds
    Silence
    Ecology of listening
    Figure
    Window form
    Singing style
    Musical theatre
    Opis:
    Salvatore Sciarrino (Palermo, 1947) began his career in the fervent climate of the six Settimane Internazionali Nuova Musica. Still very young he attracted the attention of the musical world, with his sonorous invention full of startling innovation that was to make him one of the protagonists of the contemporary musical panorama. Sciarrino is today the best-known and most performed Italian composer. His catalogue is a prodigiously large one, and his career is dotted with prestigious prizes and awards. Alchemically transmuting sound, finding new virginity in it has for fifty years been the objective of his music. Timbric experimentation is the goal of his virtuosity. The prevailing use of harmonic sounds and other subversive emission techniques make his sonorous material elusive, incorporeal, particularly close to noise: hence not sounds in the traditional sense, but ghosts and shades of sounds, systematically deprived of the attack and situated in a border zone between the being of the material and its not-being. The sound comes out changed by the osmotic relationship with silence: it is a mysterious epiphany, a “presence” that strives to appear on the surface, living and pulsating almost according to a physiology of its own. Hence it is a music of silences furrowed by minimal sound phenomena, for an “ecology of listening” - an antidote to the noise pollution of consumer society - able to clear perception, to sharpen auditory sensibility and to free the mind of stereotyped stimuli. His music is not concretized in intervallic relations and in harmonic-contrapuntal constructive logics, but in complex articulatory blocks which Sciarrino calls figures. Even though the structural use of timbre becomes a disruptive fact, which brings an upheaval to the perception of pitches and seems to burn up every linguistic residue, in thefigural articulation and in its perceptibility the composer finds a new logic and a new, infallible sense of form. Musical discourse proceeding through complex wholes is mirrored in Sciarrino’s peculiar composition method. For him the layout of a score in traditional notation is preceded by a graphic-visual project (which he calls “flow chart”) allowing synthetic control of the form and highlighting the relationship between construction and space. “Window form” had become a characteristic feature of his composition technique. With this term, borrowed from computer terminology, the composer indicates a formal procedure that mimics the intermittence of the human mind and that he considers typical of the modem and technological era. The gradual recovery of a new singing style is a central problem in his most recent production: psychotic and gasping utterance, messa di voce, glissandos, portamenti, slipping syllabification, incantatory and alienating reiterations avoid all danger of stylistic regression, shaping a new and personal monody, artificial and hallucinatory. The working-out of a personal singing style is Sciarrino’s main conquest in the last years. Hence his fundamental contribution to experiments in contemporary musical theatre and a particular flowering of vocal works that characterizes his most recent creative phase.
    Źródło:
    Interdisciplinary Studies in Musicology; 2013, 12; 73-90
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Some notes on ecophonetics: the problem of sound distinctiveness, sound sustainability, and the sustainability of vowel systems in contact conditions as exemplified by the standard Polish vowel system in contact with the Kashubian vowel system
    Autorzy:
    Puppel, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/927061.pdf
    Data publikacji:
    2018-06-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    universal sound space
    inter-entity distinctiveness index
    contact setting
    negative/positive bias towards sounds
    social dominance orientation
    ethnic nepotism
    Opis:
    In the paper, an assumption is forwarded that if sound systems are brought to a contact setting, inter-entity distinctiveness is usually distorted. In the psycholinguistic sense of the word, it means that in the perception process, a particular sound of a less favoured system may be downgraded or even ridiculed. This generally places a given sound system in a weaker position sustainability-wise. It is assumed that the process may involve the presence and operation of the phenomenon of ethnic nepotism.
    Źródło:
    Studia Germanica Posnaniensia; 2017, 38; 143-150
    0137-2467
    Pojawia się w:
    Studia Germanica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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