这篇透视论文的重点是发声的身体运动与相应的感知声音特征之间的关系,以形状作为这两个领域的共同点的思想为指导。术语“形状”用于表示我们感知或想象的现象的图形图形渲染,并且可能在纸上或屏幕上有物理表现,或者打手势,或者就像我们想象中的痕迹一样。形状为我们提供了展开运动和声音片段的间歇性快照,形状的重点是使短暂的声音和运动特征易于处理,作为更永久的对象。感知声音的形状包括动态,光谱,纹理,音高相关,谐波,等。作为形状的特征,而发声运动的形状包括发声效应器的运动轨迹和姿势,即,手指,手,武器,等。,或嘴,嘴唇,和舌头。
The focus of this perspective paper is on relationships between
sound-producing body motion and corresponding perceived
sound features, guided by the idea of shapes as the common denominator of these two domains. The term shape is used to denote graphical-pictorial renderings of phenomena that we perceive or imagine, and may have physical manifestations as tracings on paper or on screen, or as gesticulations, or just as imagined tracings in our minds. Shapes give us intermittent snapshots of unfolding motion and
sound fragments, and the point of shapes is to make ephemeral
sound and motion features tractable as more permanent objects. Shapes of perceived sound include dynamic, spectral, textural, pitch-related, harmonic, etc. features as shapes, whereas shapes of sound-producing motion include both motion trajectories and postures of
sound-producing effectors, i.e., of fingers, hands, arms, etc., or mouth, lips, and tongue.