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<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="en">Paralinguistic mechanisms of production in human “beatboxing”: A real-time magnetic resonance imaging study</title><author><name sortKey="Proctor, Michael" sort="Proctor, Michael" uniqKey="Proctor M" first="Michael" last="Proctor">Michael Proctor</name></author></titleStmt><publicationStmt><idno type="wicri:source">PMC</idno><idno type="pmid">23363120</idno><idno type="pmc">3574116</idno><idno type="url">http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3574116</idno><idno type="RBID">PMC:3574116</idno><idno type="doi">10.1121/1.4773865</idno><date when="2013">2013</date><idno type="wicri:Area/Pmc/Corpus">000056</idno><idno type="wicri:explorRef" wicri:stream="Pmc" wicri:step="Corpus" wicri:corpus="PMC">000056</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en" level="a" type="main">Paralinguistic mechanisms of production in human “beatboxing”: A real-time magnetic resonance imaging study</title><author><name sortKey="Proctor, Michael" sort="Proctor, Michael" uniqKey="Proctor M" first="Michael" last="Proctor">Michael Proctor</name></author></analytic><series><title level="j">The Journal of the Acoustical Society of America</title><idno type="ISSN">0001-4966</idno><idno type="eISSN">1520-8524</idno><imprint><date when="2013">2013</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en"><p>Real-time Magnetic Resonance Imaging (rtMRI) was used to examine mechanisms of sound production by an American male beatbox artist. rtMRI was found to be a useful modality with which to study this form of sound production, providing a global dynamic view of the midsagittal vocal tract at frame rates sufficient to observe the movement and coordination of critical articulators. The subject's repertoire included percussion elements generated using a wide range of articulatory and airstream mechanisms. Many of the same mechanisms observed in human speech production were exploited for musical effect, including patterns of articulation that do not occur in the phonologies of the artist's native languages: ejectives and clicks. The data offer insights into the paralinguistic use of phonetic primitives and the ways in which they are coordinated in this style of musical performance. A unified formalism for describing both musical and phonetic dimensions of human vocal percussion performance is proposed. Audio and video data illustrating production and orchestration of beatboxing sound effects are provided in a companion annotated corpus.</p></div></front></TEI><pmc article-type="research-article"><pmc-comment>The publisher of this article does not allow downloading of the full text in XML form.</pmc-comment>
<front><journal-meta><journal-id journal-id-type="nlm-ta">J Acoust Soc Am</journal-id><journal-id journal-id-type="iso-abbrev">J. Acoust. Soc. Am</journal-id><journal-title-group><journal-title>The Journal of the Acoustical Society of America</journal-title></journal-title-group><issn pub-type="ppub">0001-4966</issn><issn pub-type="epub">1520-8524</issn><publisher><publisher-name>Acoustical Society of America</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="pmid">23363120</article-id><article-id pub-id-type="pmc">3574116</article-id><article-id pub-id-type="publisher-id">037302JAS</article-id><article-id pub-id-type="doi">10.1121/1.4773865</article-id><article-categories><subj-group subj-group-type="heading"><subject>Speech Production [70]</subject></subj-group></article-categories><title-group><article-title>Paralinguistic mechanisms of production in human “beatboxing”: A real-time magnetic resonance imaging study</article-title></title-group><contrib-group><contrib contrib-type="author"><name><surname>Proctor</surname><given-names>Michael</given-names></name><xref ref-type="author-notes" rid="n1">a)</xref></contrib><aff>Viterbi School of Engineering, University of Southern California, 3740 McClintock Avenue, Los Angeles, California 90089-2564</aff></contrib-group><contrib-group><contrib contrib-type="author"><name><surname>Bresch</surname><given-names>Erik</given-names></name></contrib><aff>Philips Research, High Tech Campus 5, 5656 AE, Eindhoven, Netherlands</aff></contrib-group><contrib-group><contrib contrib-type="author"><name><surname>Byrd</surname><given-names>Dani</given-names></name></contrib><aff>Department of Linguistics, University of Southern California, 3601 Watt Way, Los Angeles, California 90089-1693</aff></contrib-group><contrib-group><contrib contrib-type="author"><name><surname>Nayak</surname><given-names>Krishna</given-names></name></contrib><contrib contrib-type="author"><name><surname>Narayanan</surname><given-names>Shrikanth</given-names></name></contrib><aff>Viterbi School of Engineering, University of Southern California, 3740 McClintock Avenue, Los Angeles, California 90089-2564</aff></contrib-group><author-notes><fn id="n1"><label>a)</label><p>Author to whom correspondence should be addressed. Current address: MARCS Institute, University of Western Sydney, Locked Bag 1797, Penrith NSW 2751, Australia. Electronic mail: <email>michael.proctor@uws.edu.au</email></p></fn></author-notes><pub-date pub-type="ppub"><month>2</month><year>2013</year></pub-date><volume>133</volume><issue>2</issue><fpage>1043</fpage><lpage>1054</lpage><history><date date-type="received"><day>06</day><month>3</month><year>2012</year></date><date date-type="rev-recd"><day>30</day><month>10</month><year>2012</year></date><date date-type="accepted"><day>17</day><month>12</month><year>2012</year></date></history><permissions><copyright-statement>Copyright © 2013 Acoustical Society of America</copyright-statement><copyright-year>2013</copyright-year><copyright-holder>Acoustical Society of America</copyright-holder></permissions><abstract><p>Real-time Magnetic Resonance Imaging (rtMRI) was used to examine mechanisms of sound production by an American male beatbox artist. rtMRI was found to be a useful modality with which to study this form of sound production, providing a global dynamic view of the midsagittal vocal tract at frame rates sufficient to observe the movement and coordination of critical articulators. The subject's repertoire included percussion elements generated using a wide range of articulatory and airstream mechanisms. Many of the same mechanisms observed in human speech production were exploited for musical effect, including patterns of articulation that do not occur in the phonologies of the artist's native languages: ejectives and clicks. The data offer insights into the paralinguistic use of phonetic primitives and the ways in which they are coordinated in this style of musical performance. A unified formalism for describing both musical and phonetic dimensions of human vocal percussion performance is proposed. Audio and video data illustrating production and orchestration of beatboxing sound effects are provided in a companion annotated corpus.</p></abstract><custom-meta-group><custom-meta><meta-name>CCC information</meta-name><meta-value>0001-4966/2013/133(2)/1043/12/$30.00</meta-value></custom-meta><custom-meta><meta-name>sisac</meta-name><meta-value>0001-4966()133:2L.1043;1</meta-value></custom-meta><custom-meta><meta-name>edcode</meta-name><meta-value>12-11570R</meta-value></custom-meta><custom-meta><meta-name>aipkey</meta-name><meta-value>1.4773865</meta-value></custom-meta><custom-meta><meta-name>spin</meta-name><meta-value><named-content content-type="el-docanal"><named-content content-type="att-kind">KART</named-content><named-content content-type="el-pacs"><named-content content-type="att-pacsyr">2013</named-content><named-content content-type="el-pacscode">43.70.Bk</named-content><named-content content-type="el-pacscode">43.75.St</named-content><named-content content-type="el-pacscode">43.70.Mn</named-content><named-content content-type="el-pacscode">43.75.Rs</named-content></named-content></named-content><named-content content-type="el-jouidx"><named-content content-type="el-country">US</named-content><named-content content-type="el-totalidx">3</named-content><named-content content-type="el-addidx">biomedical MRI</named-content><named-content content-type="el-addidx">music</named-content><named-content content-type="el-addidx">speech</named-content></named-content></meta-value></custom-meta><custom-meta><meta-name>ipc-code</meta-name><meta-value><named-content content-type="ipc">A61B5/055</named-content><named-content content-type="ipc-term">Involving electronic [emr] or nuclear [nmr] magnetic resonance, e.g. magnetic resonance imaging</named-content></meta-value></custom-meta><custom-meta><meta-name>ipc-code</meta-name><meta-value><named-content content-type="ipc">G10</named-content><named-content content-type="ipc-term">Musical instruments; Acoustics</named-content></meta-value></custom-meta></custom-meta-group></article-meta></front></pmc></record>Pour manipuler ce document sous Unix (Dilib)
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