Wyniki wyszukiwania - Biblioteka Nauki

Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl

Ograniczanie wyników

Znaleziono wyników: 2

Liczba wyników na stronie

Wyniki wyszukiwania

Wyszukiwano:
w słowach kluczowych: vocal sound

Sortuj według:

Ogranicz wyniki do:

Vocal communication in the bicoloured white-toothed shrew Crocidura leucodon

100%

Simeonovska-Nikolova D. M.

2004

tom 49

nr 2

Vocal sounds of 15 individuals of Crocidura leucodon (Hermann, 1780) emitted during agonistic and amicable interactions in male-male, female-female and male- -femalejdyadic encounters, and intráspecific cage groups, were studied. An analysis of spectral properties, along with an examination of context and function, were performed. The sounds registered during agonistic interactions showed an increase, then a decrease in frequency, often followed a complex undulating curve. The dominant frequency (DF) was 10.7 ± 0.05 kHz, and duration (DU) was 104.2 ± 4.4 ms. The calls emitted by shrews at investigation and grooming often ended with chirping notes (DF = 4.8 ± 0.2 kHz, DU = 23.5 ± 1.1 ms). While clustering and huddling up to the partner, the animals produced calls consisting of short notes with a very low intensity (DF = 1.0 ± 0.07 kHz, DU = 35.2 ± 0.8 ms). Based on these finding, it can be assumed that threatening sounds, emitted in agonistic encounters, allow shrews to avoid conflicts, while those, emitted when clustering and huddling up to the partner, contribute to maintenance of group cohesiveness. The variability of frequency ranges and intensity of sounds probably reflects the territorial and gregarious behaviour of C. leucodon and adaptation to communication in variable acoustic environments.

„Nerozlišuji v tvorbě věci drobné a velké“

70%

Kordík P.

Slovo a smysl - Word & Sense

2016

tom 13

nr 26

26-53

This study yields an analysis of one of the most distinctive compositions from the composer Miloslav Kabeláč (1908–1970) for children’s choir and piano — Blue Sky (1950). One’s attention focuses above all on the vocal sound, on the elemental musical morphology and its impulses, which on the one hand stands the load-bearing constructions of Kabeláč’s compositions (which are built upon continuous planes and musical units), and on the other hand, these elements shape and define each individual song. Kabeláč outlines Hrubín’s verse (from the collection Blue Sky, 1948, which uses pictures from Josef Čapek) through the elemental nature of monorhythmic structures and in a more or less unvarying vocal space. Despite this, however, each song has its own specific traits and pronounced character. The elements of play, which this analysis will attempt to express and within which are found various deep dimensions of Kabeláč’s conception of the work as a whole, are mutually related structures of joking, playful puns through lyrics or vice versa through more dramatic position to a decidedly contemplative position, an expression of the naturalness of the world of children followed by a return to the world of adults.