Footnote 6 But this has been, for the most part, explored in relation to verbal texts. One aspect of art’s intellectual history has thus been an analysis of the differences, transformations, continuities and discontinuities in the beliefs and theories about the ways that art affects people and how this has changed over time in accordance with political, cultural and intellectual climates – what has been termed as an exploration of trajectories of ideas about art. There is, for example, an intellectual history of texts in which philosophers, novelists, dramatists and artists have written on the aesthetic and social value of art from antiquity to the modern era. Footnote 5 It is an exploration of the impact of writing about art, or art itself, as it is has been used in arguments about the role of art in society, culture or politics. In art history, the intellectual history of art to date is mostly a subcategory of the historiography of art theory and writing. Can a body of art work or a musical composition constitute a “text” for the purposes of intellectual history? And if it can, can it be said to convey a coherent treatment of an idea which is susceptible to systematic analysis? The papers in this issue approach these questions from a variety of perspectives, addressing the history of ideas expressed in images, music notation and sound, as well as in the words written about all of these subjects. In some respects, the question comes down to one of definition. Footnote 3 Annabel Brett’s 2002 survey of the current state of intellectual history also showed how the study of cultural practices and “structures of mental reference” had by then been incorporated into the scope of the discipline. As early as 1985, Michael Biddiss included music and the visual arts – along with mathematics and physics – among the modes of discourse which must be taken into account by intellectual history, but in which language is merely secondary. Yet at least some strands of recent thinking about intellectual history have moved beyond studying only written, verbal texts, to encompass other kinds of materials that can be understood as vehicles for generative thought. If ideas are understood as being exclusively thoughts expressed (or at least capable of being expressed) in words, then the visual and aural media of art and music would appear, a priori, to be ruled out as proper subjects of intellectual history. This emphasis on words perhaps arises because of intellectual history’s long-standing methodological focus on the close reading of texts as the primary way of accessing the thoughts and ideas of past people. More attention is often paid to texts about art or music, rather than to the visual or the aural, even within the disciplines of art history and musicology. Yet this is not always how an intellectual history of art and music has been practiced. Footnote 2 We could equally characterise in general terms the intellectual history of the creative arts as the study of past thoughts as they were expressed visually and aurally. As an art historian and a musicologist contributing to the debates of the network, we continually returned to the same question: do the creative arts have an intellectual history? Our first response is “yes”, if we use the same starting point as Quentin Skinner when he summarised most generally the subject matter of intellectual history as the study of past thoughts. Footnote 1 While dominated by historians and philosophers, the network is specifically concerned with expanding the borders of intellectual history to include scholars from disciplines that remain somewhat on the margins of the field. The aural parameters like speech rate, articulation, delivery of speech, dynamic loudness and acoustic parameters like pitch and formant frequency for five vowels were compared.The essays in this special issue were developed from papers presented at events hosted by the Sydney Intellectual History Network between 20. In this experiment, 50 female and 50 male voices samples were converted using morphing software, and auditory and acoustic analysis was done for forensic speaker identification. To disguise the identity and to study the reliability of the various speaker identification parameters, the female audios were morphed into male audios and the male audios were morphed into female audios using the same morphing software. In this paper, male voices were compared with morphed male audio and female voices were compared with morphed female audio. Discriminating gender from the questioned audios helps shorten the list of suspects in any offence. The person's voice is used in the biometric systems for identification as it is unique. Crimes like kidnapping, threat calls, and ransom calls often involve the voice of criminals as a crucial piece of evidence. Hiding the identity of the criminal is essential from their perspective to avoid getting caught.
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