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This study aims to find out whether the Rongga language (hereinafter abbreviated as bR) is a vocal language, and the reasons why bR is said to be a vocal language. This study uses a qualitative method. Data was collected using observation methods, field linguistics, literature assisted by elicitation techniques, record keeping, and recording. Data were analyzed qualitatively and presented descriptively. Based on the results of this study it was found that bR is a vocal language. This is based on (1) segmentation the series of letters , , constitute a sound segment: labial prenasal inhibition [ᵐb], alveolar prenasal inhibition [ⁿd], and velar prenasal inhibition [ᵑg] so that the word -words in bR like are pronounced as [ᵐbalu] 'storm', [ⁿdate] 'create', and [ᵑgare] 'gali', and are not pronounced as [ǝmbalu], [ǝndate], and [ǝngare]. (2) Based on the canonical pattern of syllables and words, bR has a canonical pattern that always ends in a vowel, and, (3) every word from the Indonesian language that ends in a consonant, both in the middle and final positions of syllables and words when absorbed in bR always conforms to the canonical pattern of bR syllables and words. For example, [paɠa].'fence', [aɗa] 'custom', [gapa] 'easy'. Thus, the Rongga language is a vocalic language. Abstrak Penelitian ini bertujuan untuk mengetahui apakah bahasa Rongga (selanjutnya disingkat bR) merupakan bahasa vokalik, dan alasan bR mengapa dikatakan sebagai bahasa vokalik. Penelitian ini menggunakan metode kualitatif. Data dikumpulkan dengan menggunakan metode observasi, linguistik lapangan, kepustakaan dibantu teknik elisitasi, pencatatan, dan perekaman. Data dianalisis secara kualitatif dan disajikan secara deskriptif. Berdasarkan hasil penelitian ini ditemukan bahwa ternyata bR merupakan bahasa vokalik. Hal ini didasarkan pada (1) secara segmentasi rangkaian huruf , , merupakan sebuah segmen bunyi: hambat pranasal labial [ᵐb], hambat pranasal alveolar [ⁿd], dan hambat pranasal velar [ᵑg] sehingga kata-kata dalam bR seperti dilafalkan sebagai [ᵐbalu] ‘badai’, [ⁿdate] ‘buat’, dan [ᵑgare] ‘gali’, dan tidak dilafalkan sebagai [ǝmbalu], [ǝndate], dan [ǝnggare]. (2) Secara pola kanonik sukukata dan kata, bR mempunyai pola kanonik yang selalu berakhir dengan vokal, dan, (3) setiap kata dari bahasa Indonesia yang berakhir dengan konsonan, baik pada posisi tengah maupun akhir sukukata dan kata ketika terserap dalam bR selalu menyesuaikan diri dengan pola kanonik sukukata dan kata bR. Contohnya [paɠa].’pagar’, [aɗa] ‘adat’, [gapa] ‘gampang’. Dengan demikian, bahasa Rongga merupakan bahasa vokalik.

This article examines the intense connection that involves the Imaginary and the voice as body, a great absent of the western philosophical tradition. In a methodological perspective of hermeneutic excavation, firstly the complexity of the voice is investigated in the Hebrew and pre-metaphysical Hellenic traditions. Secondly, the world of poetry and the value of rhythm will be examined. The text essentially addresses an invitation to listen to the pure vocalic, to that voice that comes before the logos but which discloses ontological meanings containing the unsolved philosophical questions of Western culture. A voice that comes from layers of the past that the Imaginary is full of, and it is from this permanence in the progressive changing of the narratives that we need to recover the body too often set aside, but also to rediscover ourselves. [ABSTRACT FROM AUTHOR]

Rahri, a dialect of Bangla language, is considered as the standard dialect of Bangla, in the same way as we consider Khariboli for Hindi. Rahri came into literary use since the early of 20th century, and by the beginning of 21st century it had become the dominant literary language as well as the standard colloquial form of speech among the educated Bengali. Although there is a good amount of similarity between the written texts and spoken, to a very considerable degree, the spoken form of Rahri variety is quite different from the standard Bangla language. In view of that, this study, as part of a well comprehensive study, aims to establish the Consonantal and Vocalic sound system of Rahri Upobhasa. [ABSTRACT FROM AUTHOR]

The understanding of nonverbal language is essential for communication quality. Emotion recognition from the nonverbal language guarantees adaptation in the social environment and even a professional success, it gives essential information about one’s emotions, social status, attitude, etc. Unfortunately, voice as a source of nonverbal language has been left behind by scientists who mostly concentrate on facial expression. The aim of the current research is to investigate how emotion recognition from voice depends on the receiver's gender as well as on the gender and age of a person expressing them. The following hypotheses were stated: a) anger and sadness are recognized most precisely while joy least precisely; b) female students recognize emotion from voice better than male students do; c) female and male participants recognize emotion from voice better when it is expressed by the actor of the same gender; d) students can recognize emotions from voice better when they are expressed by an actor of the same age; e) emotions are recognized better when they are considered to match the actor's gender. 223 students participated in the research. The average age was 21 (SD = 1.8), of them 183 women and 40 men. The participants were asked to listen to a voice recording prepared for this study and to recognize the displayed emotion (joy, boredom, anger, sadness, interest, and fear). Each emotion was portrayed by four professional actors: two men (72 and 23 years old) and 2 women (56 and 24 years old). They were all using the same emotionally neutral sentence: ”I am going out of the room now, but I will be back later”. The method was created based on the method of Byron (2007) used in her research. The results of the current research showed that all emotions were recognized at the accuracy of 33-92%. Anger (99%) and joy (82%) were recognized most accurately, while sadness was recognized least accurately (58%). Women tended to recognize all the emotions more accurately than men, even though only fear and interest were recognized statistically significantly better by women. Investigating the recognition of the positive and the negative emotion groups, women recognized them both significantly better than men did. Moreover, women recognized the emotion portrayed by females better, while men recognized emotions expressed by females and males with the same accuracy. Emotions portrayed by an older actor were recognized better than those portrayed by young actors. Participants of more various occupations and age should be investigated, as well as the emotions portrayed by more different actors and actresses should be displayed in future studies to improve the research of emotion recognition from voice. This study was a great contribution to creating the Lithuanian instrument for evaluating the emotion recognition from voice. [ABSTRACT FROM AUTHOR]

Rhythm is a systematic temporal and accentual patterning of sound. Speech rhythm refers to the way languages are organized in time. The present study investigated the differences in the type of speech rhythm, in typically developing, Kannada speaking children in the age groups of 3-4 years, 8-9 years, and 11-12 years. Sixty children (10 girls and 10 boys in each of the three age groups) participated in the study. A five-minute speech sample was elicited using simple pictures/cartoons developed by Nagapoornima (1990) in 3-4 year old children; for children in the older age groups, pictures depicting simple stories developed by Rajendra Swamy (1991) adapted from Panchatantra were used. These speech samples were analyzed using PRAAT 5.1.14 software. Vocalic (V) and Intervocalic (IV) durations were measured. The durational difference between successive vocalic and intervocalic segments were calculated and averaged to get Pair wise Variability Index. Comparison of PVIs of the above age groups with Kannada speaking adults indicated that 3-4 year old children had syllable-timed rhythm pattern; 8-9 year and 11-12 year old children was mora-timed rhythm. Intervocalic PVI reduced from younger to older age group whereas vocalic PVI showed no such trend. Results obtained are discussed with reference to the rhythm types in each age group and establishing a continuum in development of speech rhythm. [ABSTRACT FROM AUTHOR]