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Tytuł:
Wirtualny stetoskop do badania tonów podstawowych serca
Virtual stethoscope for study of the first and second heart sounds
Autorzy:
Wilk, B.
Powiązania:
https://bibliotekanauki.pl/articles/158003.pdf
Data publikacji:
2007
Wydawca:
Stowarzyszenie Inżynierów i Techników Mechaników Polskich
Tematy:
tony podstawowe serca
transformata falkowa
transformata Hilberta
przyrząd wirtualny
first and second heart sounds
wavelet transform
Hilbert transform
virtual instrument
Opis:
W artykule zaprezentowano wirtualny stetoskop, który został opracowany w środowisku LabVIEW do cyfrowej rejestracji i analizy (w post procesie) tonów oraz szmerów serca. Sygnały akustyczne serca są rejestrowane za pomocą stetoskopu z mikrofonem. W pracy szczegółowo omówiono metodę detekcji tonów podstawowych serca na podstawie analizy falkowej sygnału fonokardiograficznego (tj. sygnału FKG obejmującego tony i szmery serca).
This paper describes a virtual stethoscope designed in LabVIEW environment for use in heart sounds recording and off-line analysis. Heart sounds and murmurs are recorded by a microphone built into the stethoscope. A method for detection of the first and second heart sounds is presented in details. This method is based on wavelet analysis of PCG signal (i.e. heart sounds and murmurs).
Źródło:
Pomiary Automatyka Kontrola; 2007, R. 53, nr 12, 12; 46-47
0032-4140
Pojawia się w:
Pomiary Automatyka Kontrola
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sounds in space: the potential uses for acoustics in the exploration of other worlds
Autorzy:
Leighton, T.
Petculescu, A.
Powiązania:
https://bibliotekanauki.pl/articles/331578.pdf
Data publikacji:
2008
Wydawca:
Polskie Towarzystwo Akustyczne
Tematy:
sounds in space
acoustics
acoustical models
Opis:
This paper examines the past and future uses for acoustics in space research. Whilst on the larger scales in some topic areas, acoustical models have proved to be useful in extraterrestrial research, in other areas there has been not so much use made of acoustical techniques. One particular area where greater use might be made of acoustical sensors is in the deployment of acoustical sensors on probes sent out to other moons and planets. This is surprising given that acoustical sensors deliver benefits that are particularly useful for planetary probes, in terms of weight, bandwidth, ruggedness and cost. Whilst geoacoustical data could be obtained from many bodies, those which contain a dense atmosphere or an ocean offer intriguing additional possibilities. Examples from Mars, Venus, Titan, Enceladus and Europa will be discussed.
Źródło:
Hydroacoustics; 2008, 11; 225-239
1642-1817
Pojawia się w:
Hydroacoustics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pitch Strength of Residual Sounds Estimated Through Chroma Recognition by Absolute-Pitch Possessors
Autorzy:
Rogowski, P.
Rakowski, A.
Powiązania:
https://bibliotekanauki.pl/articles/177930.pdf
Data publikacji:
2010
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
absolute pitch
residual sounds
virtual pitch
Opis:
Absolute pitch is a unique feature of the auditory memory which makes it possible for its possessors to recognize the musical name (chroma) of a tone. Six musicians with absolute pitch, selected from a group of 250 music students as best scoring in musical pitch-naming tests, identified the chroma of residue pitch produced by harmonic complex tones with several lower partials removed (residual sounds). The data show that the percentage of correct chroma recognitions decreases as the lowest physically existent harmonic in the spectrum is moved higher. According to our underlying hypothesis the percentage of correct chroma recognitions corresponds to the pitch strength of the investigated tones. The present results are compared with pitch strength values derived in an experiment reported by Houtsma and Smurzynski (1990) for tones same as those used in this study but investigated with the use of a different method which consisted in identification of musical intervals between two successive tones. For sounds comprising only harmonics of very high order the new method yields a very low pitch recognition level of about 20% while identification of musical intervals remains stable at a level of about 60%.
Źródło:
Archives of Acoustics; 2010, 35, 3; 331-347
0137-5075
Pojawia się w:
Archives of Acoustics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Loudness Assessment of Musical Tones Equalized in A-weighted Level
Autorzy:
Klonari, D.
Pastiadis, K.
Papadelis, G.
Papanikolaou, G.
Powiązania:
https://bibliotekanauki.pl/articles/177354.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
loudness perception
A-weighted level equalization
wind instrument sounds
Opis:
The present study was carried out to determine whether recorded musical tones played at various pitches on a clarinet, a flute, an oboe, and a trumpet are perceived as being equal in loudness when presented to listeners at the same A-weighted level. This psychophysical investigation showed systematic effects of both instrument type and pitch that could be related to spectral properties of the sounds under consideration. Level adjustments that were needed to equalize loudness well exceeded typical values of JNDs for signal level, thus confirming the insufficiency of A-weighting as a loudness predictor for musical sounds. Consequently, the use of elaborate computational prediction is stressed, in view of the necessity for thorough investigation of factors affecting the perception of loudness of musical sounds.
Źródło:
Archives of Acoustics; 2011, 36, 2; 239-250
0137-5075
Pojawia się w:
Archives of Acoustics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Metoda filtracji sygnału fonokardiograficznego
Denoising method for heart sounds
Autorzy:
Wilk, B.
Powiązania:
https://bibliotekanauki.pl/articles/156082.pdf
Data publikacji:
2011
Wydawca:
Stowarzyszenie Inżynierów i Techników Mechaników Polskich
Tematy:
sygnał FKG
adaptacyjna filtracja zakłóceń
analiza falkowa
heart sounds
adaptive noise cancellation
wavelet analysis
Opis:
Zakłócenia zewnętrzne (tj. sygnały akustyczne pochodzące z otoczenia), które występują podczas rejestracji tonów i szmerów serca (tzw. sygnału FKG) za pomocą stetoskopu z mikrofonem, znacznie utrudniają analizę zjawisk osłuchowych. W artykule przedstawiono metodę adaptacyjnej filtracji zakłóceń zewnętrznych. Jako sygnał wejściowy filtru LMS przyjęto aproksymację sygnału FKG uzyskaną na podstawie analizy falkowej zakłóconego FKG. Natomiast na wejście referencyjne filtru LMS podano zmodyfikowany sygnał reprezentujący zakłócenia zewnętrzne zarejestrowane drugim mikrofonem. Proponowana metoda daje lepsze rezultaty niż filtracja adaptacyjna przeprowadzona bezpośrednio na zarejestrowanych sygnałach.
Auscultation is one of the most important non-invasive and simple diagnostic tools for detecting disorders of cardiac diseases. The intelligent stethoscope with microphone allows us to acquire and analyze heart sounds (produced by the mechanical action of the heart) objectively. In daily life various noise components, especially from a noisy environment, make the diagnostic evaluation of a phonocardiographic signal (i.e. FCG) difficult or in some cases even impossible. Heart sounds and additive external noises usually overlap in the frequency domain. This paper presents a novel wavelet-based adaptive denoising method for external noise cancellation from the FCG signal. Heart sounds and acoustic ambient noises were recorded separately by two microphones at the same time (Fig. 1). At first, the recorded signals are decomposed by DWT using "coif5" wavelet. The sum of the details at levels from 5 up to 8 gives an acceptable approximation of the FCG signal (Fig. 3) and it was used as the primary input of the LMS adaptive filter (Fig. 2). The reference signal required for the LMS filter was derived from the modified wavelet coefficients of the acquired noise signal (Fig. 5). This signal is highly correlated with artifacts in the FCG signal and it provides better results of adaptive noise cancellation than the raw signal corresponding to acoustic ambient noise. The comparison between the power of the FCG signal segments, including, and void of, external noise, and the power of the filtered signal can be used to measure the filtering effectiveness. The results show that the proposed method is a promising technique for external noise reduction in the FCG signal.
Źródło:
Pomiary Automatyka Kontrola; 2011, R. 57, nr 12, 12; 1495-1497
0032-4140
Pojawia się w:
Pomiary Automatyka Kontrola
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Analiza i modelowanie sygnałów osłuchu płuc
Analysis and modelling of lung sounds
Autorzy:
Wiśniewski, M.
Zieliński, T.
Powiązania:
https://bibliotekanauki.pl/articles/154827.pdf
Data publikacji:
2012
Wydawca:
Stowarzyszenie Inżynierów i Techników Mechaników Polskich
Tematy:
osłuch płuc
modelowanie
oddech
świsty
chest auscultation
modeling
lung sounds
wheezes
Opis:
Artykuł dotyczy problematyki modelowania sygnałów pozyskanych podczas osłuchu płuc. Oprócz modelu normalnego oddechu zdrowego pacjenta, przedstawiono opracowany model świstów astmatycznych, jednego z najpopularniejszych objawów zaburzenia oddychania. Biorąc pod uwagę fakt, że świsty osadzone są na tle normalnego oddechu, w artykule przedstawiono metodykę wyliczania poprawnego stosunku sygnałów tonalnych świstu do sygnału normalnego oddechu. Przeprowadzono również analizę przedziałów częstotliwości tonów występujących w świstach rzeczywistych.
The paper addresses a problem of modelling lung sounds. Apart from typical human breath of a healthy person, the model of asthma wheeze, one of the most often breathing disorders, is presented. Since wheezes are embedded in normal human breath, the methodology of signal-to noise (wheeze-to-breath) ratio calculation is discussed in the paper. The frequency range of wheezes present in real recordings is investigated in this work, too. Section 2 specifies signals that are obtained during the chest auscultation. In Section 3 feature identification and signal modelling of normal lung sounds are made. In this section the distribution of signal samples and the mean signal spectrum are shown in the figures. Section 4 describes identification of real signal features and modelling of wheezes. This section presents histograms of SNR (Signal to Noise Ratio or Wheeze-to-Breath Ratio), number of tones in wheezes and tone frequencies for real signals and generated tonalities. The model verification results obtained with use of tonality detection algorithms are given in Section 6. The short conclusions and a list of references are at the end of the paper.
Źródło:
Pomiary Automatyka Kontrola; 2012, R. 58, nr 4, 4; 383-386
0032-4140
Pojawia się w:
Pomiary Automatyka Kontrola
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Besedotvorna produktivnost posnemovalnih medmetov za zvoke naprav v slovenščini
Autorzy:
Stramljič Breznik, Irena
Powiązania:
https://bibliotekanauki.pl/articles/677544.pdf
Data publikacji:
2013
Wydawca:
Polska Akademia Nauk. Instytut Slawistyki PAN
Tematy:
word-formation
interjections
interjections imitating machine sounds
words formed from interjections
Opis:
Word-formational productivity of onomatopoeic interjections imitating machine sounds in SloveneThe article presents partial results of a wider study about the lexical potential of interjections in Slovene from the functional and lexicographical perspectives. The study focuses on interjections imitating machine sounds which are presented as entries from a to ž in the Slovenian Ortography (2001).On the basis of examples found, interjections were classified into more homogenous groups according to the type of machine. Each category was further analyzed by using corpus analysis, which was carried out on the trial version of the billion-word corpus of the Slovene language called Gigafida. The analysis focused on the existence of words created from interjections whose base comes from one of the subcategories of onomatopoeic interjections presented here.The results of the analysis have confirmed that this type of interjections and words formed from them are relatively frequent in expressive discourse. The most prominent are the interjections typically used for imitating the sound of musical instruments and their parts (brenk), tools (švrk, škrt), weapons (pok, švist) and transportation devices (puh).The results also showed that the interjections which are the base for forming verbs give rise to more extensive word families. Verbs formed from interjections can also form complex words of a higher order according to established word-formational patterns. Produktywność słowotwórcza słoweńskich wtrąceń onomatopeicznych naśladujących dźwięki maszynNiniejszy artykuł jest częścią większego projektu, badającego potencjał leksykalny wtrąceń w języku słoweńskim z perspektywy funkcjonalnej oraz leksykograficznej – w pracy przedstawione zostaną jedynie wyniki badań nad tymi wtrąceniami, które naśladują dźwięki maszyn.Materiał do badania, tj. konkretne wtrącenia, został zaczerpnięty ze słownika ortografii słoweńskiej (Slovenski pravopis, 2001). Znalezione przykłady zostały następnie pogrupowane w zależności od typu maszyn, których dźwięki naśladują. Kolejny etap to pogłębiona analiza każdej grupy za pomocą testowej wersji korpusu języka słoweńskiego Gigafida (korpus ten zawiera około miliarda słów). Analiza ta miała na celu zbadanie, czy istnieją słowa utworzone na bazie wtrąceń należących do jednej z omawianych tutaj grup.Badanie wykazało, iż tego typu wtrącenia oraz słowa od nich utworzone stosunkowo często występują w dyskursie o charakterze ekspresywnym. Ze wszystkich wtrąceń najczęściej występowały te, które naśladują dźwięk instrumentów muzycznych lub ich części (brenk), narzędzi (švrk, škrt), broni (pok, švist) oraz środków transportu (puh).Co więcej, wtrącenia, od których tworzone są czasowniki, dają początek bardziej rozbudowanym rodzinom wyrazowym. Takie czasowniki mogą również wchodzić w skład bardziej złożonych słów, tworzonych za pomocą typowych dla języka słoweńskiego mechanizmów słowotwórczych.
Źródło:
Slavia Meridionalis; 2013, 13
1233-6173
2392-2400
Pojawia się w:
Slavia Meridionalis
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:
MUSIC IN THE FIELD OF POLITICAL SCIENCE RESEARCH QUESTIONS AND TRENDS
Autorzy:
Massaka, Iwona
Powiązania:
https://bibliotekanauki.pl/articles/594783.pdf
Data publikacji:
2013
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
music
music and politics
theory of politics
sounds
democracy
Opis:
Research on relations between art and politics has its tradition. However, it mainly refers to literature, whose part, as far as its authors’ intentions are concerned, is of a political character, in a lesser degree – of a picture. Sound, especially if it is not linked to a text and/or a picture, is considerably more seldom analyzed from the point of view of its importance in politics. As long as a word and a picture happen to convey unequivocal political meaning, qualified as such by most recipients, sound cannot be obviously considered a political message. It is questionable whether music can convey any meaning in whatever sense. If one can manage to suppress this doubt, it will result in a question how to construe the senses conveyed through the medium of melodic – rhythmic structures. However, the findings in the field of widely understood humanities affirm that music serves as a creator’s message directed to both individual and collective receivers. Political science studies often bring up a matter of communication between authorities and the subjects (in authoritarian regimes), and also between representatives of a nation or people claiming their role and electorate (in democratic regimes). At the end of the 1960s, American and Canadian scientists made room for music, one of the most widespread communicators, i. a. in political sphere. At that time, interdisciplinary teams including American sociologists, political scientists, culture and media experts undertook.
Źródło:
Polish Political Science Yearbook; 2013, 42; 317-330
0208-7375
Pojawia się w:
Polish Political Science Yearbook
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:
System wspierający diagnostykę rodzin pszczelich
A support system for the diagnosis of bee colonies
Autorzy:
Krzywoszyja, G.
Andrzejewski, G.
Powiązania:
https://bibliotekanauki.pl/articles/157623.pdf
Data publikacji:
2014
Wydawca:
Stowarzyszenie Inżynierów i Techników Mechaników Polskich
Tematy:
diagnostyka
dźwięki
pszczoły
stan
bees
condition
diagnostics
sounds
Opis:
W artykule opisano konstrukcję systemu diagnostycznego, przeznaczonego do obserwacji zachowań pszczół. Główna część artykułu zawiera ocenę możliwości wydobycia informacji z dźwięków wytwarzanych przez pszczoły. Celem badań jest rozpoznanie stanów rodziny pszczelej oraz ich klasyfikacja. Opisano proces tworzenia modeli dźwięków oraz redukcji ich wymiarów. Przedstawiono obrazy otrzymane w diagnostycznej przestrzeni obserwacji stanów. W części końcowej opisano proces badania wybranego strumienia dźwięków i podjęto próbę interpretacji otrzymanych wyników.
The design of a diagnostic system to observe the behavior of bees is described. The main part of the paper contains an assessment of the possibility of extracting information from sounds produced by bees. The aim of the study is to identify the states of colonies and their classification. It describes the processes modeling the sounds and reducing their size. Experimental images created in the diagnostic state space are shown. Finally, the process of testing a selected stream of sounds is outlined and an attempt to interpret the results is made.
Źródło:
Pomiary Automatyka Kontrola; 2014, R. 60, nr 11, 11; 978-981
0032-4140
Pojawia się w:
Pomiary Automatyka Kontrola
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Urządzenia akustyczne UOZ-1 sposobem na ograniczenie kolizji z udziałem zwierząt na liniach kolejowych
Sonic deterring devices UOZ-1 as a tool to limit collisions with animals along the railways
Autorzy:
Jasińska, K.
Werka, J.
Krauze-Gryz, D.
Wasilewski, M.
Powiązania:
https://bibliotekanauki.pl/articles/990028.pdf
Data publikacji:
2014
Wydawca:
Polskie Towarzystwo Leśne
Tematy:
zwierzeta dziko zyjace
wedrowki zwierzat
linie kolejowe
zagrozenia zwierzat
kolizje z pociagami
odstraszanie zwierzat
odstraszacze akustyczne
urzadzenie UOZ-1
skutecznosc
railways
natural sounds
density of tracks
animals mortality
Opis:
Modernization of railways in Poland should ensure not only safety of passengers, but also limit their negative impact on the environment, especially possibility of train collisions with animals. The aim of the study conducted in the years 2007−2013 on the E20 railway Mińsk Mazowiecki−Siedlce were (1) to record places where animals cross the railway most often, both on the stretches secured and unsecured with sonic deterring devices (UOZ−1), and (2) to specify the number and locations of collisions of trains with mammals. Winter tracking along the railways identified 12 mammal species that crossed the railways. These included four ungulates (moose, red deer, roe deer, wild boar) and eight smaller mammals (red fox, marten, domestic dog, domestic cat, polecat, stoat, brown hare, red squirrel). The average number of tracks of all mammals was higher on the stretches with UOZ−1 than on the stretches over 100 meters away from UOZ−1 (1.52 and 1.01/100 m, respectively, p<0.0001). For ungulates it was higher on the stretches with UOZ−1 (0.66 and 0.38/100 m respectively, p<0.0005) as well. During the study 26 cases of animals kills as result of collisions with trains were recorded: 9 mooses, 2 red deer, 7 roe deer, 15 wild boars, 1 fox, 1 stone marten, 4 dogs. Most of these collisions took place out of the range of UOZ−1.
Źródło:
Sylwan; 2014, 158, 02; 143-150
0039-7660
Pojawia się w:
Sylwan
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Konteksty i pytania badań nad dźwiękiem w kulturze współczesnej. Wprowadzenie
Autorzy:
Misiak, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/468579.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Wrocławski. Instytut Kulturoznawstwa. Pracownia Badań Pejzażu Dźwiękowego
Tematy:
audiosfera
sounds studies
pejzaż dźwiękowy
dźwięk
Opis:
The paper is an attempt to identify the wide array of contexts and problems associated with the presence of sound in contemporary culture. These contexts are described using the most significant questions in given problematic fields. The main objective is to draw a map delineating the varied field of research on sound. In the paper, questions coexist related to philosophy, aesthetics, musico logy, anthropology, acoustics, ecology and architecture.
Źródło:
Audiosfera. Koncepcje – Badania – Praktyki; 2015, 1; 3-9
2450-4467
Pojawia się w:
Audiosfera. Koncepcje – Badania – Praktyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Percepción de acento y acortamiento vocálico en español
Autorzy:
Broś, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/2079783.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Warszawski. Wydział Neofilologii
Tematy:
speech perception
perception of non-native sounds
stress pttern
vowel reduction
default vowel
Spanish sound perception
percepción
patrón melódico
reducción vocálica
percepción de la schwa
vocal por defecto
sonidos no nativos
Opis:
Spanish is well-known for its consonant reduction processes across all dialects. At the same time, its vowel inventory is not particularly rich, with five evenly distributed, stable vowel categories that tend not to change their qualities regardless of stress and rhythm. At the same time, several Spanish varieties show vowel reduction, but crucially without accompanying advancement in terms of consonantal weakening. Based on this evidence it is proposed that the two types of reduction are correlated to the extent that one excludes the other. Given the extraordinary stability of the Spanish vowels in the vast majority of the dialects, various cues to stress and reduction were investigated, followed by a series of empirical studies in the form of perception experiments. These studies are based on the assumption that changes in Spanish stress and vowel quality should inhibit comprehension of native categories (sounds, words and prosodic elements). The research conducted in order to test this hypothesis has shown that this is indeed the case. What is more, an indication of a potential boundary between native segments with important implications for speech signal perception has been discovered.
Źródło:
Itinerarios; 2015, 22; 13-34
1507-7241
Pojawia się w:
Itinerarios
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Próba klasyfikacji zmian paragogicznych w językach romańskich
An attempt of classification of the paragogical changes in the neo-Latin languages
Tentative de classification de changements paragogiques dans les langues romanes
Autorzy:
Sorbet, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/943863.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
historical phonetics
paragogical sounds
Romance languages
diachronic linguistics
language change
paragoge
phonétique historique
sons paragogiques
langues romanes
linguistique diachronique
changement linguistique
paragoga
fonetyka historyczna
głoski paragogiczne
języki romańskie
lingwistyka diachroniczna
zmiana językowa
Opis:
The aim of this article is to present the processes which led to the fact that many words in Romance languages, when compared to their etymons, have suffered changes over time which on one hand consist, in the disappearance of some sounds, and on the other hand, in the appearance of new sounds. Then the phenomenon of paragoge is illustrated with different neo-Latin languages. The analyzed forms come from several languages such as: Asturian, Catalan, French, Galician, Italian, Occitan, Portuguese, Romanian, Sardinian and Spanish. At the end we tried to propose a classification of paragogical changes based on the previously exposed examples.
Dans cette brève étude nous nous proposons d’exposer les processus qui ont comme conséquences que divers mots dans les langues romanes, en les comparant avec leurs étymons, ont souffert au fil du temps de transformations qui consistent, d’un côté, dans la disparition de sons, et de l’autre côté, dans l’apparition de sons. Ensuite nous nous penchons sur le phénomène de la paragoge en l’illustrant avec divers idiomes néo-latins. Les formes des mots soumises aux observations sont comparées dans plusieurs langues telles que l’asturien, le catalan, l’espagnol, le français, le galicien, l’italien, l’occitan, le portugais, le roumain et le sarde. À la fin nous essayons d’offrir une classification de la paragoge en puisant dans les exemples antérieurement exposés.
Źródło:
Acta Universitatis Lodziensis. Studia Indogermanica Lodziensia. Supplementary Series; 2015, 4
2451-1153
Pojawia się w:
Acta Universitatis Lodziensis. Studia Indogermanica Lodziensia. Supplementary Series
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 47

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