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Journal mutations
Part of
Sound–Emotion Interaction in Poetry: Rhythm, Phonemes, Voice Quality
Reuven Tsur † and Chen Gafni
[
Linguistic Approaches to Literature
39] 2022
► pp.
443
–
448
◄
previous
Subject index
A
A
ablaut punning
171, 176
abrupt
consonant
25–27, 34–35, 49, 57–58, 69, 71–72, 77–78, 146, 155, 176, 207, 219
emotion
71–72
absorption
224–229, 231–232, 235–236, 303–304 ;
see also
personality style
acoustic confusion
234
acrostic scrambling
175
aesthetic distance
274
aesthetic quality
4, 201, 238, 370–371, 404
aesthetic response
82, 383, 395, 406
affricate
25–26, 124–125, 403–404
alliteration
3, 77–81, 161–162, 167–168, 172–179, 206, 212–217, 219, 297–298, 303–304, 317
altered states of consciousness
278, 296, 303
ambiguity
218
(in)tolerance of
224–225, 231–232, 303–304, 306
analytic articulation
167, 180
anapest
310, 376–378
aperiodic (sound)
25–26, 50–51, 57, 59, 98, 104–105, 115, 250–251, 256–257
arousal
24–25, 34–35, 37–40, 42, 205, 210, 212–215, 217–219, 267–270, 284, 287 ;
see also
VAD
articulateness
79, 178
articulation
8, 25–28, 58, 63–64, 89–90, 251, 271–272, 280, 300, 307–308, 324, 334, 337, 386–389, 400–402 ;
see also
articulatory feature
articulatory feature
8, 27, 42, 64, 109–111, 133, 394, 399, 401
articulatory gesture
28, 401
aspect-switching
48–49, 54–56, 65–66, 98, 124, 127–128, 417
aspiration
251, 259, 271–272, 278
assonance
161–162, 167, 174–175, 179
audition colorée
8, 98, 101, 412, 415
auditory mode (speech perception)
50, 334, 409 ;
see also
nonspeech mode
augmentation
175–176
autocorrelation
255–257, 259–260
B
B
backward compensation
343–345
bouba/kiki
56–58, 61–62, 74, 146
boundary (perception of speech sounds)
26, 55, 69–70, 115 ;
see also
gestalt
brain research
143, 369 ;
see also
brain science;
neuroscience
brain science
236 ;
see also
brain science;
neuroscience
breathy voice
247–253, 255–261, 285–287
bundle of (features)
2, 23–24, 33, 39, 42, 48, 63, 72, 83, 133, 139, 297
C
C
caesura
170–172, 187, 300–301, 317, 362–364, 370, 373–374, 379
case study
75–76, 81–83, 131–132, 147–148, 154, 203, 391, 395
category boundary
54, 71, 409, 415
categorical perception
26, 54, 409 ;
see also
speech mode
categorisation
134, 139, 323, 390
cepstral peak prominence smoothed,
See CPPS
cepstrum
257
channel-capacity
333–334, 374, 389
classicist
137
clear-cut articulation
334, 337, 389
clichés
357–359
closural allusion,
See thematic closure
closure (articulation)
64, 71, 246, 250, 367
closure (perception)
79, 170, 172, 226–227, 229, 231–232, 236, 238, 312, 314, 357–359, 367
delayed
232
rapid
232, 236
see also
thematic closure
co-articulation
59
cognitive approach
2, 6–7, 15, 46, 65, 131–132, 145, 148, 152, 157, 291, 316, 353, 378–380
cognitive stability
81, 226
cognitive strategy
224, 227–228, 304
colour induction
411–412
colour interaction
80, 99, 411–412
combinational potential
72, 103, 314, 392
coming home
121, 225, 232 ;
see also
homecoming
consonance
161–162, 167, 174–175, 179
continuant (sound class)
26, 51, 58, 65, 145, 250
continuation (continuity)
168–171, 186–187, 195–196, 200–201, 301, 337, 340–342, 364, 384, 399
continuous (sound class)
25–27, 35–36, 49, 57–59, 61, 66, 71, 77, 79, 98, 110, 118, 146, 219, 417
convergence,
See convergent
convergent (poetry)
delivery style
299, 301–302, 307, 331–332, 335–336, 352, 385, 387
structure (rhythm, poem)
103, 107, 161–164, 167–168, 170–172, 174–178, 180, 296–299, 317, 323, 329, 335, 350–352, 398, 402, 411
convergent thinking
296, 317, 404
CPPS
255–257, 259
creaky voice
247–249, 257, 261, 271
cross-wiring
89–90, 97
crucial recommendation
13, 81–82, 200
D
D
dactylic hexameter,
See heroic rhythm
deep structure
348
deictic words
134
delivery style
274, 299, 307, 324, 326–327, 329, 332, 335–336, 352, 385–387 ;
see also
convergent delivery style;
divergent delivery style
descriptive (content; classification; feature)
12, 35, 116, 123, 179, 237, 296, 359 ;
see also
evaluative
dimensional model of emotions
24, 205, 217, 267
discontinuation (discontinuity)
168–169, 171, 186–187, 189, 195–196, 198–201, 300–302, 336, 339–341, 364, 384, 399
divergence,
See divergent
divergent (poetry)
delivery style
299, 301–302, 307, 331, 335–336, 339, 352, 385–387
structure (rhythm, poem)
161–164, 167–170, 172, 175, 177–178, 180, 185, 191, 296–299, 317–319, 322–323, 329, 335, 337, 341, 350–352, 398, 402, 405, 411
divergent thinking
296, 317, 322, 404
dolnik
178, 298
dominance
24–25, 40, 141–142, 154, 205, 210, 214, 218, 221, 267–270, 274, 282, 284 ;
see also
VAD
dormant (expressive potential)
64, 114, 219
double-edgedness
40, 42, 46, 48–49, 51, 53, 55–56, 65–66, 111–113, 417
dual transmission
60
E
E
emotional quality
19, 22–24, 28, 34, 37–38, 43, 46–47, 53, 70, 104, 124, 143, 158–162, 165, 167–168, 172, 175, 180, 185, 188, 190–191, 233, 244, 277–278, 291–292, 295–296, 302, 319, 327, 350, 391, 393, 397–399, 404–405 ;
see also
emotive quality
emotive crescendo
327
emotive quality
204–206, 209, 213, 215–218, 243, 261, 263, 270, 282, 284–286 ;
see also
emotional quality
encoded
26, 36, 50–51, 78–79, 98–100, 106, 118, 176, 207, 213, 306, 408, 410 ;
see also
encodedness;
unencoded
encodedness
26, 50–51, 59, 296, 407–408 ;
see also
encoded;
unencoded
enjambment
3, 79, 168–170, 186–189, 195–196, 198–201, 297–298, 340–341, 384
experiential set
231, 235, 278, 303
expressive (potential of sound)
26, 36, 40, 42–43, 48, 50, 63–64, 83, 110, 133, 147, 152, 179, 233, 379, 383, 394, 397
expressive function
110
evaluative (content; classification; feature)
35, 114, 116, 123, 237 ;
see also
descriptive
F
F
family resemblance
125–126, 128–129
feature
abstraction
23, 75
deletion
23, 37, 230
transfer
23–24, 30–31, 74, 219
foregrounding
28, 39–40, 42, 77, 79, 111, 134, 175–178, 219–221, 230, 304, 312, 341, 358
formant (frequency)
28, 42, 55, 78, 90, 100, 122, 141, 145, 149, 150–154, 247–248, 251, 255–257, 407–408
bandwidth
255–257
dispersion
148–149, 151–154
transition
55, 60, 121–123, 145, 407–410, 415
frequency code
73, 118–119, 124, 138, 141–142, 151, 154
functional metaphor
230, 390
G
G
general canons of evaluation
228, 307
generative metrists
311, 330, 375, 384
gestalt (perceptual pattern)
79–80, 96–99, 150, 188, 190, 196, 206, 213–214, 220, 226, 297–298, 308, 312, 334, 350, 362, 365, 379, 388–389, 411, 419
quality
177–178, 185, 188
see also
strong gestalt;
weak gestalt
gestalt-free
24, 97–99, 297, 322, 368–369, 371, 398, 412
gestalt theory (psychology)
24, 80, 186, 190, 365, 379, 398, 401
principle (rule) of
79–80, 97, 99, 294, 297, 362, 365, 388–389, 411, 419
grouping (perception)
300–301, 310, 312–314, 334, 336–338, 344, 376, 386–389, 402
glottis
246–247, 250–251, 257, 259
H
H
H/L
255–256, 259–260
Hammarberg index
255–256, 259–261, 285
harmonicity
See HNR
harmonics-to-noise ratio
See HNR
heroic rhythm
309–311
HNR
255–257, 259–260, 285
homecoming
301 ;
see also
coming home
hypnotic poetry
103–108, 162–163, 227–229, 296–297, 302–306, 317, 405
hypnotic quality
107–108, 177, 229
hyponym
23, 25–26, 47–48, 67, 88, 140, 148
hyponymy
See hyponym
I
I
iambic hexameter
362–364
iambic pentameter
76, 171, 190, 206, 311–313, 331, 344, 360–361, 363, 372, 374–375, 377–379
iambic tetrameter
362–363, 365–366, 370–371, 373, 379
iconicity
8–11, 20–22, 27–29, 37, 42–43, 45–47, 64, 74, 83, 106–107, 131–134, 138–141, 144–149, 160, 164, 191, 391–394 ;
see also
symbolism
impressionism
6–7, 154, 292, 391 ;
see also
impressionistic
impressionist (criticism)
203, 223, 291–292, 327 ;
see also
impressionism
indicative (grammatical mood)
12–13
information processing
74, 138, 145, 320–321, 323, 389
instrumental set
231, 235, 237, 278, 303
intonation
120–121, 138, 186–189, 195–197, 252, 297, 300–301, 308, 319, 333, 337–341, 374, 387–388, 400, 402, 404–405
irony
168–169, 185, 188–189, 191–201, 357, 404
L
L
late peaking
337–340, 402, 405
lateral inhibition
78
Law of Good Continuation
365
Law of Prägnanz
365, 389
Law of Proximity
388–389
Law of Return
170, 226, 228–229, 232
Law of Significance,
See rule of significance
left hemisphere
78, 93, 296, 369
leveler
51, 225, 231–232
line boundary
81, 170, 172, 190, 298, 334, 341
liquids (sound class)
20–21, 25, 32, 34, 37, 47, 57–60, 71, 78, 103–107, 114, 246, 306, 417
logic of
(scientific) discovery
161
the completed scientific report
161, 164
loose iamb
178
M
M
mannerist
95, 137
manner of articulation
25, 69–70
markedness (marked, unmarked)
138–139, 165, 232, 311, 344, 374
meaning potential
27, 40, 52, 65, 74, 118
meditation
296, 303, 369–370
mental performance
13, 200, 227, 332
mental processing space
307, 312, 334, 362–363, 386–387, 389
metaphor
31, 33, 36, 39, 62, 73, 77, 81, 92, 96–97, 118, 124–128, 150, 217–218, 229–233, 376, 383–384, 390–391 ;
see also
functional metaphor;
sensuous metaphor;
synaesthetic metaphor
metonymic (transformation)
124–128 ;
see also
metonymy
metonymy
31, 39, 118, 126 ;
see also
metonymic
metre
108, 163, 296–297, 303, 309–314, 327, 331–332, 343, 346–347, 349, 356–357, 360–361, 366, 373–376, 378, 384–387, 389
metric deviation
206–207, 213–214, 216, 220–221, 315, 334, 372–373, 378, 390
metric lapse
313, 315
metric pattern (structure)
170, 298, 305, 310, 313, 340, 347–349, 358, 401
metrical (line)
311, 330–333, 345, 348–349, 386 ;
see also
metricality;
metricalness;
unmetrical (line)
metrical hybridization
355
metrical inversion
295, 372
metrical position
170, 318, 334, 336, 340–341, 385, 387
strong (s)
80, 179, 297, 310–311, 313–316, 330–334, 337–338, 340, 343, 345, 347–348, 350–351, 363, 374, 385–387
SW
350–352
weak (w)
171, 213–214, 308, 310–311, 313–317, 330–331, 334–335, 337–340, 343–345, 347–348, 350–352, 363, 373–374, 376, 378, 386–387, 404
WS
315–316, 350–351
metrical rules
346, 350
metrical set
333, 385–387
metricality
307, 342, 349 ;
see also
metricalness
metricalness
332–333, 344, 348, 351–352, 404 ;
see also
metricality;
metrical (line);
unmetrical (line)
mirror neuron
321
modal voice
246, 248 ;
see also
modal phonation
modal phonation
251 ;
see also
modal voice
multiply interrupted (consonant)
111, 220
mystic experience
369–371
N
N
nasal (consonants)
15, 20–22, 25, 32–37, 43, 47, 55–60, 64–65, 67–72, 78, 103–107, 114, 123, 148, 160, 165–166, 178, 231, 246, 306, 393–394, 417
Negative Capability
224
neuroscience
89 ;
see also
brain research,
brain science
neurotheology
369
neutral sound patterns
46, 80, 214
New Criticism
2, 40, 223, 356, 368 ;
see also
new-critical
new-critical (approach)
354, 356, 370, 375 ;
see also
New Criticism
nil phonation
246
noncategorical perception
54
nonspeech mode
50, 145, 153, 408–409 ;
see also
auditory mode
O
O
object of imitation
318, 323, 405
oceanic dedifferentiation
115
off-rhyme
367, 371
onomatopoeia
29–32, 53, 63–64, 77, 79, 111–113, 134, 221, 231, 383, 392, 401, 403–404
open concept
125–126, 128–129, 333
open-ended (question)
14, 186, 199, 204–205, 209–210, 212, 216, 218, 264, 267, 275, 277, 282, 284–287
orientation (association) area
369–370
ostensive (definition)
250, 398
over-articulation
300–301, 336–337, 340–341, 386–387
overtone
55, 78, 80, 99, 120, 142, 150–151, 247–248, 251–252, 256, 407, 411–412
P
P
panchronistic tendencies in synaesthesia
95
passively receiving mind
322
peak delay,
See late peaking
Pearson r at Autocorrelation Peak
255–256 ;
see also
autocorrelation
perceived effect
4, 6, 95, 112, 131, 169, 198, 203–204, 209, 245, 254, 263–264, 291–292, 294–295, 308–309, 398
perceived quality
6, 12, 26, 30, 38, 42, 49, 68, 149, 151–152, 154, 185–186, 188, 190–191, 196, 200–201, 203–204, 217, 225, 228, 238, 244, 285–286, 295, 302, 320, 394, 399, 405
perception and personality
224, 238, 398
perceptual feature
31, 33, 136
perceptual force
81, 401–402, 419–420
perceptual potential
26, 28, 30, 49, 118, 149, 361, 364, 370, 378
perceptual quality
19, 22, 27, 29, 33, 39, 51, 106, 123, 131, 140, 152, 189, 200, 216, 261, 296, 308, 315, 365, 399
perceptual stability
51, 225–226
performance (of poetry),
See vocal performance;mental performance
periodic (sound)
25–26, 31, 35–36, 49, 57–59, 69–71, 77, 98–99, 103–106, 110–111, 113–114, 118, 124, 146, 213, 219, 250, 256–257, 260–261, 306, 405, 417
periodicity (acoustics)
57, 69, 250–251, 255–257, 259–260, 417 ;
see also
periodic;
aperiodic
personality style
81, 224, 229–232, 235–238, 394 ;
see also
absorption
personification
31, 368
phenomenological quality
244
phonation
245–247, 251, 257, 271, 278, 287
phonestheme
116–117, 125, 127–129
phonetic category
50, 147, 149, 318, 417
phonetic coding
143–145, 233–234, 236–237
phonetic mode (speech perception)
50, 409 ;
see also
speech mode
phonetic representation
234
phonetic structure
34, 114, 131, 167–168, 394
place of articulation
25, 58–59, 69–70
Platonic Censor
108, 303, 405
plosive
15, 19–22, 25–26, 29–30, 33–34, 36, 43, 49, 51, 55, 59–61, 64–65, 68, 70, 72, 75, 80, 104, 113–115, 123, ––145–146, 154, 160, 165–166, 178, 219–220, 246, 393, 403, 407, 415, 417 ;
see also
voiced plosive;
voiceless plosive
poetic function
2, 136, 147, 303, 402
poetic mode (speech perception)
26, 50, 104, 116, 145
postmodern (criticism)
353, 372, 378
precategorical (auditory) information
26–29, 49–51, 54–56, 59–60, 77–80, 98–100, 118, 143–145, 147, 149, 176, 234–237, 298, 305–306, 318, 323, 398–399, 408–409, 412, 415
precategorical perception,
See precategorical (auditory) information
principle of maximum contrast
139
prosodic ambiguity
356, 379–380
prosodic boundary
334, 374, 419
psychological atmosphere
4, 15, 24–25, 37, 43, 49, 65, 73–74, 103, 106–107, 168–169, 171, 190–191, 196, 206, 220, 270, 286–287, 296–298, 302, 304, 306, 315, 327, 364–366, 392–393, 399, 404
psychological reality
123, 263, 402
R
R
recoding
334
reductionism
38, 180
referential function
107, 110, 136, 400–403
regional quality
133, 185
requiredness
79
resolving power of the human ear
153
resonance
26, 32, 49, 53, 56, 59–61, 69–70, 98, 142, 150, 233, 245, 257, 407
rhyme
77, 79, 81, 136, 162, 175–176, 225–229, 234, 293–295, 303–306, 343, 354–356, 358–359, 365–366, 370, 380, 405
rhythm
30, 40–41, 104, 107, 161–163, 170, 172, 174–175, 178, 180, 220, 227, 263, 274, 296, 302–305, 307, 309–311, 327, 329, 332, 335, 347, 350, 364, 372–373, 378, 383–384, 398–399, 401–402
rhythmic structure
168, 179, 295, 317, 339, 399, 404
rhythmical performance
172, 187, 189, 195, 198, 200, 220–221, 243, 296, 307–308, 312–313, 325, 330, 333, 335–337, 343, 351–352, 383–385, 387–390, 399–401, 405
right hemisphere
78, 93, 369
romantic (era)
78, 95–96, 113, 322
Rorschach (inkblot) test
24, 52, 398
RPK,
See Pearson r at Autocorrelation Peak
rule of significance
230
Russian formalists
342, 346
S
S
segmental discontinuities
337
sensuous metaphor
36, 81, 230, 232–233, 390
sharpener
51, 225, 231
short-term memory
26, 49, 59, 98, 143–144, 176, 234, 236–237, 333, 362, 385–386, 398
sibilant
40, 43, 46–47, 49–52, 59–60, 64, 98–99, 111–112, 115, 118, 158, 164, 168, 205–206, 212–216, 219
single photon emission computed tomography
369
soft voice
250, 252, 286–287 ;
see also
softened voice
softened voice
244–245, 250, 252–253, 255, 258–264, 270, 272, 277–280, 285–287 ;
see also
soft voice
SPECT,
See single photon emission computed tomography
spectral emphasis
255–256, 259–261, 285
spectral slope
248, 251, 255–256, 259–260, 285
spectral tilt,
See spectral slope
spectrogram
122, 149, 152, 407–410
spectrum (acoustics)
247–249, 251, 255–260
speech act
12–13, 223
speech mode
26, 50, 104, 145, 153, 408–409
sporadic rhyme
162, 177
stanza form
297, 303, 356, 359, 364–368, 370–371, 378
straddled line
171, 190
stress demotion
335, 399
stress inversion
329, 335, 340, 349–352, 372–373, 375, 399
stress maxima,
See stress maximum
stress maximum
311–314, 330–331, 344–349, 352, 373–374, 378, 404
stress valley
312–315, 317
stimulus-response (S-R) (method)
5, 12–15, 20, 22, 46, 67–68, 83, 131–132, 159, 185–186, 200, 384, 391, 394, 404–406
stripped speech
120–121
strong gestalt
79–80, 97, 162, 190–191, 220–221, 226, 296–297, 362–365, 398, 412
structural description
80, 114, 343
structural feature
43, 308, 365
structural resemblance
4, 24, 34, 70, 152–153, 155, 168, 185, 219, 278–279, 286, 291, 308, 317–318, 322, 327, 370, 398, 404
structural-cognitive,
See cognitive approach
structuralism
92, 354, 356, 361, 371, 378
structuralist (method)
41, 46, 67, 157–158, 297, 311, 354, 356, 370, 375, 395, 397
suprasegmental
318–319
syllabo-accentual metre
373 ;
see also
syllabotonic
syllabotonic (metre)
163, 178, 310, 347 ;
see also
syllabo-accentual metre
symbolism
19, 132–133 ;
see also
iconicity
synaesthesia
8–9, 62–63, 85–86, 89–91, 94–95, 97, 100–101
synaesthetic metaphor
62, 85, 90, 94–98
syntactic boundary
79, 81, 362, 364, 401–402
T
T
tacit skills
76, 82
terminal (intonation)
120–121
terza rima
356
thematic closure
227
theoretical sophistication
81, 229–232, 393
thing-free (perception)
96–97, 324, 368–371, 398
tracheal coupling
251, 255, 257
trochaic tetrameter
309, 364–365, 385
U
U
unencoded
26, 59, 98–99, 306
unmetrical (line)
311, 313, 330–333, 343, 345, 348, 352, 373, 378, 383, 386 ;
see also
metrical (line);
metricality;
metricalness
unvoiced
See voiceless
V
V
VAD (valence-arousal-dominance)
24, 35, 40, 205, 210, 218, 267–269, 282, 284
valence
24–25, 34–40, 42–43, 116, 121–123, 137, 158, 205, 210, 213, 217–218, 267–268, 270, 282, 284, 286–287, 393 ;
see also
VAD
versification
3, 13, 24, 38, 161, 169–172, 174, 178, 186, 200, 292, 296, 303, 307–308, 312, 318–319, 322, 325, 330, 333–334, 336, 340, 342–343, 351, 374, 384–386, 388–389, 397–402, 404–405
virtuoso expert
76, 81–82, 235
vocal performance
13, 169, 200, 217, 243–244, 261, 263–264, 276, 318–319, 324, 332
voice (phonetics)
25–26 ;
see also
voiced;
voiceless
voice quality
119, 123, 244–248, 260–261, 263–264, 267, 270–272, 274–280, 285, 287, 302
voiced
fricative
57, 59
plosive
20, 26, 43, 49, 51, 53–60, 65, 69–70, 98–101, 175, 233, 235, 408, 410, 415, 417
stop,
See voiced plosive
voiceless
25, 246
fricative
57, 59, 118
plosive
20, 43, 47, 51, 55–58, 65–67, 69–70, 77–80, 99, 115, 146, 155, 157–158, 164, 168, 219, 415, 417
stop,
See voiceless plosive
vowel
20–21, 28, 33, 36–37, 90, 92, 106, 134–136, 141, 143–145, 148–149, 152–153, 155, 255, 407
W
W
weak gestalt
24, 162, 190–191, 220–221, 226, 296–298, 398
whisper (voice quality)
245, 271–272
wit
189, 196–197
witty
30, 32, 95–97, 137, 139, 162–163, 177, 189, 296–297, 299, 317, 365
word boundary
331, 334, 336–338, 341, 362–364, 386–388