Intonation Errors Research Articles

Интонационные ошибки в японской речи русских обучающихся на примере вопросительных высказываний

The article presents a description of different types of interrogative intonation errors in the Japanese speech of L1 Russian learners of Japanese. The material for the research includes recordings of Japanese interrogative phrases uttered in spontaneous dialogues by speakers whose native language is Russian. Acoustic analysis of these realizations has revealed a few intonation errors, which may be considered when developing a national-oriented teaching approach for learners of Japanese intonation.

Анализ влияния просодических единиц и интонационных моделей персидского языка у иранских студентов на выражение ИК-7 в русском языке

Iranian students of Russian often experience problems with phonetics and pronunciation that hinder their listening comprehension. Pronunciation mistakes and native-language interference are the main problems Iranian students have to face while studying Russian. No textbooks in Iran introduce a comparative analysis of Russian and Persian phonetic systems. This research was an attempt to compare the intonation systems of both languages in order to help Iranian students to master Intonation Pattern No.7 and develop their communication skills in the Russian language. Oral speech of 17 Iranian students was processed phonetically and acoustically using PRAAT 6.2.10. This program used pitch and intensity filters to analyze Russian Intonation Pattern No. 7 and visualize speech sounds as graphs. Intonation is a set of prosodic means that segments and structures speech flow in accordance with the message intended. In both languages, intonation patterns convey meaning and express emotions. In this study, native intonation pool prevented the Iranian students from imitating Russian Intonation Pattern No. 7. This comparative acoustic analysis of Russian and Persian intonation systems will help Iranian students to prevent phonetic, rhythmic, and intonation errors in Russian. The results can be used by students, second-language teachers, speech therapists, and communication specialists.

INTONATION ERRORS OF THAI STUDENTS IN SPEAKING ENGLISH

This research aims to determine how the intonation errors of Thai students in speaking English especially in rising and falling intonation. This research used a quantitative method of analysis. The type of this research is classroom action research (CAR). Meanwhile, CAR research is to find or apply a method or approach to learning in the class that is appropriate to the problem encountered. Furthermore, the researcher chose the fourth grade of Prathom Miftahuddeen (Banpleetai) School Nathawee, Songkhla, Thailand totaling 46 students. However, the researcher only took 20 students especially the 4/2 classes the sample of this research. The data in this research were obtained through Pre-Test, Cycle 1, Cycle 2. The data from the mean of the Pre-test, Cycle 1, and Cycle 2 using the SPSS 21 application. The research showed that students’ grades increase after being given the treatment using speech rising and falling intonation about the traditional food of Thailand (Tom Kha Kai). These are shown by the mean scores of the Pre-test (67,95% or 68%), the mean of Cycle 1 (83,15%), and the mean of Cycle 2 (95%). So the skill of the students in rising and falling intonation in the fourth grade of Prathom Miftahuddeen (Banpleetai) School Nathawee, Songkhla, Thailand has been successful and effective.

Repeated stage exposure reduces music performance anxiety.

High heart rate (HR) and restlessness are two important features of music performance anxiety (MPA). In a case report of a cellist suffering from this condition, we showed that HR and restlessness decreased after repeated live performances of the same musical excerpt, thereby positively modulating objective performance criteria and subjective components. Here, we largely replicate these results in a group of 18 string players reporting MPA. Objective measurement devices included a miniaturized electrocardiogram monitor and three 3-axis accelerometer loggers. Subjective measures included the Multidimensional Mental Health Questionnaire (MDBF) and a customized visual analogue scale (VAS) questionnaire for MPA. Non-artistic performance errors were assessed by music experts using a composite score for technical playing errors (i.e., intonation errors, omission of notes, and bowing noise). Data were collected from each study participant during three brief public solo performances of the same musical excerpt, with each performance occurring before a new audience on the same day. From the 1st to the 3rd performance, HR, VAS, and playing error scores decreased significantly. MDBF (RU scale) showed a significant increase in calmness from the 1st to the 3rd performance on stage. HR and RU, VAS, and RU, as well as bow acceleration and overall duration of playing correlated significantly across participants and performances. We conclude that repeated stage exposure significantly reduces HR as well as restlessness and playing errors linked to MPA. Public performances are still successful when HR is significantly higher than during rest periods. These results underscore the importance of stage training to become accustomed to realistic public self-exposure. Musicians - especially students - should consider this component of stage training as an integral part of their practice routine. Therefore, stage training can reduce MPA, promote better live performances and prevent stress-related mental disorders and physical injuries. These result from excessive self-exercise strategies common in musicians experiencing MPA. HR monitoring should be an integral part of evaluating the effectiveness of interventions for better MPA management and efficient performance training.

AN ANALYSIS OF STUDENTS’ SUPRASEGMENTAL ERRORS IN READING SENTENCES AT SMA NEGERI 4 JENEPONTO

This study aims to identify the errors students in intonation and in stressing the word in sentences. This is descriptive qualitative research. Student audio transcripts and an Oxford dictionary were used to process the data. Participants in this study were students of SMAN 4 Jeneponto X IPA 2 semester 2, totaling 15 people who were selected by random sampling technique. A pronunciation test or oral test was used as the primary research instrument, with recordings as a secondary instrument.The results showed that there were 2 errors in intonation made by students of class X IPA 2 semester 2 SMAN 4 Jeneponto, namely rising intonation and falling intonation errors. Then there is an error in stressing the word in the sentence, which lies in the verbs and adjectives. It can be concluded that the errors made by students are caused by a lack of knowledge and awareness of students in terms of pronunciation, especially suprasegmental sounds.

STUDENTS' PERCEPTION OF THE INFLUENCE OF INTONATION IN ENGLISH ON CONVEYING THE MEANING OF SPEECH IN COMMUNICATION

In communication, intonation plays an important role in conveying the meaning of a speech. In this article, we study students' perception of the influence of intonation in conveying the meaning of speech in communication to propose solutions to help students overcome intonation errors when communicating, as well as, help teachers have appropriate intonation teaching methods. Our data and analysis are based on research documents, surveys, and in-depth interviews with students. According to the study results, most students are well aware of the importance of intonation and of the factors affecting intonation, and they are also aware of the causes of intonation errors. However, students do not apply their knowledge of intonation to speech, they stop at the cognitive level. The study indicates that students often make intonation mistakes in Tag-question, Wh-question, and Imperative sentence in communication.<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0256/a.php" alt="Hit counter" /></p>

The role of auditory feedback in the motor learning of music in experienced and novice performers

Musical learning is related to the development of audio-visuomotor associations linking gestures with musical sounds. To study the role of auditory feedback in learning, 115 students (56 guitarists, 59 pianists) at the beginner, intermediate and advanced levels were recruited. Playing with sound (audio-motor feedback), mute practice (motor feedback), and piece listening (auditory feedback) were compared to first sight reading to assess the role of auditory and motor feedback in procedural learning. The procedure consisted of the execution of a standard piece for determining the students’ level and 4 further music executions (every week for 4 weeks), preceded by different practice conditions (for 12 min, once a day, for 5 days). Real musical pieces (e.g., Segovia, Schubert, Bartók) were used. Performance evaluation focused on four macro-categories: note, rhythm, dynamics and smoothness. For both instruments, first-sight reading (A − M −) was associated with the worst performance: silent motor practice (A − M +) resulted in learning the rhythmic structure of the piece and in a smoother performance. Listening to pieces (A + M −) resulted in learning the agogics and in improving articulation and smoothness. Listening during performance (A + M +) resulted in fewer intonation errors. Interestingly, auditory feedback was more relevant for beginners than for advanced students, as evidenced by the greater benefits of listening during practice.

Effectiveness of the Teaching Program Prepared to Improve Intonation Skills in Violin Education

In this study, the effect of the curriculum prepared for the elimination of posture-grip disorders in students and the development of the right-and left-hand skills on the intonation skills of students was examined. For this purpose, the curriculum prepared by targeting the 1 and 2 grade levels of the Music Teaching Undergraduate Program was applied to 6 students studying at Bolu Abant İzzet Baysal University Music Education Department in the 2018–2019 academic year. In the study, the explanatory sequential mixed method was used, a single group pretest–posttest experimental design was applied in the quantitative dimension, and a structured interview technique was used in the qualitative dimension. Thirteen weeks worth of the prepared curriculum was applied to the experimental group, one hour per week. The effectiveness of the programme was examined based on three tasks: intonation accuracy in the first position, intonation accuracy according to the speed variable, and intonation accuracy in I–III position–transition playback. The studies and exercises determined for this purpose were performed by the students in the studio environment before and after the application, and the intonation errors in the files recorded in the computer environment were converted into numerical data with the Melodyn Studio 4.0 package program. To calculate the level of significance between the pretest–posttest results, 8772 notes records were analysed, and the Wilcoxon Marked Rows test was applied using the SPSS program. The descriptive analysis method was used in the analysis of qualitative data. According to the analysis, significant improvement was detected in the intonations of the students in all three tasks. It was seen that the qualitative student opinions supported these results, and the students stated that there was an improvement in their intonation and violin playing skills after the application. As a result, it can be said that regular technical exercises by eliminating posture-holding disorders and improving violin playing skills are effective in the development of intonation in the violin.

Yurt Dışında Yabancı Dil Olarak Türkçe Öğretmek: Sorunlar ve Çözüm Önerileri

Bu çalışmanın amacı, yurt dışında yabancı dil olarak Türkçe öğretilirken yaşanan sorunları tespit etmek ve bunlara çözüm önerileri sunmaktır. Çalışmada, nitel araştırma desenlerinden olgu bilim deseninden yararlanılmıştır. Araştırmada öne çıkan sorunların ‘tek tip ses kaydının bulunması, ses kaydı, dinleme cihazı yokluğu ya da yetersizliği’, ‘öğrencilerin kendi dillerinde olmayan sesleri seslendirmede yaşadıkları zorluğa bağlı sorunlar’, ‘sesli okuma sürecinde telaffuz, vurgu, tonlama hataları, ders kitabı haricinde okuma metni bulunmaması’, ‘yazma özyeterliliği düşüklüğü, kaygısı, ilgisizlik, olumsuz tutum, dil bilgisi hataları, ‘önceden öğrenilen yabancı dil konularının ya da ana dilin ileriye ket vurması, öğrencilerin olumsuz tutumu, motivasyon eksikliği, kaygı düzeyi yüksekliği’, ‘teknoloji yetersizliği, ders programı sorunları’ bulunduğu tespit edilmiştir. Bu sorunlara yönelik çözüm önerileri getirilmiştir.

Optimal valve slide length for brass instruments

One of the first patents for compensating valve brass instruments by US Letters Patent #457,337 dated 11 August 1891 of Fontaine Besson is studied and optimized to obtain a much better in tune compensating instrument. The variance of intonation for the Besson instrument is 18.86%. An optimized four valve brass instruments is devised that lowers the variance to 4.22%. However, the first valve is flat by 7.39% on both sides of the instrument. Because intonation errors of ±5% are tolerable a spring loaded trigger must be provided to shorten the first valve when used alone. An EXCEL spreadsheet is presented analyzing many different three, four and five valve compensating and noncompensating instruments. Of particular interest is a five valve compensating instrument having a variance of 2.37% and standard deviation of 2.48%. The fifth valve lowers the instrument by 6 semitones. Instead of the fifth valve aforementioned a fifth valve of 0.237 of the length of the fourth valve could be used in combination with the fourth valve making the horn lighter. An Excel spread sheet is presented for the calculations relating to many ordinary and compensating three, four and five valve instruments.

الأخطاء فى تعليم مهارة الكلام وحلها عند اللغة المرحلية بالمستوى الفونيمات فوق القطعية للطلاب الفصل الثامن بمدرسة محمدية ٤ المتوسطة سورابايا

The difficulties in learning maharah kalam at the level of suprsegmental phonemes are found when students learn Arabic. Intonation errors, stress, and pausing. Therefore, this research was conducted to find out these mistakes and the solutions given by teacher in SMP Muhammadiyah 4 Surabaya. This research is a qualitative descriptive with the population of 8th grade student and the sampling is 8th grade C. Data collection techniques used in this research are using the method of observation, interview and questionnaire. Data analysis techniques used aredata reduction, data display, and data verification. The results showed: 1) errors in word stress were 49 errors; 2) errors in intonation were 30 errors; 3) errors at pauses were 55 errors. The solutions given by teacher with these mistakes were: 1) instructing students to repeat the dialogue to use the right intonation, stress, dan pause; 2) translating the text of theconversation and students writing the translation in their books, then the students will better understand the difference in meaning from the differences in intonation, stress, dan pause; 3) the teacher gives examples of the correct pronounciation of words according to the right intonation, stress, and pause.

An Analysis of Two Intonation Error in Chinese Language Education : The Action of Intonation in Chinese Well Temperament

An Analysis of Two Intonation Error in Chinese Language Education : The Action of Intonation in Chinese Well Temperament

A performance analysis of In-Car Music engagement as an indication of driver distraction and risk

Drivers engage in a host of driving-unrelated tasks while on the road. They listen to music, sing-along, and accompany songs by pounding-out drum-kicks and syncopated rhythms on the steering wheel. However, there is controversy over in-cabin music: Does background music facilitate driver performance via increased arousal leading to more focused concentration, or cause distraction placing drivers at greater risk. In an effort to shed light on the debate, the current study evaluated music engagement by employing Music Performance Analyses with audio recordings from three simulated driving conditions. The results indicate that as the perceptual demands of the primary driving task increased, the secondary music activity was hampered, and subsequently sub-optimal vocal and percussive performances were demonstrated consisting of intonation errors, rhythmic inaccuracy, lack of synchrony, inconsistent and unstable temporal flow, neglect of text, and lyric replacement. The findings seem to point out that drivers allocate greater reserves to music than previously considered, and as drivers do not withdraw altogether from music engagement under high-demand driving conditions, driving may be under-resourced. Exploring active music engagement while driving might assist traffic safety researchers in decoding the effects of In-Car Music on driver behavior.

A full double tuba in F/BBb

Described here is a design for an F/BBb tuba. The valves and keys needed for a full double tuba take a lot of space. There exists a full and complete double tuba in BBb/EEE built on a very large instrument frame and is more than 5 feet tall and 2 feet wide [1]. However, the sizes of F tuba frames are too small to accommodate 5 double and 2 switch valves and their associated tubing. Using a standard F tuba frame, the lack of space has been solved by having four double valves and two switch valves. The fourth double valve is unusual because it is descending on the F side and ascending on the BBb side of the instrument. An ascent to a BB □tuba is made by the ascending part of that valve. The valve slide lengths have been optimized to yield intonation such that −5< intonation error < 5 cents over a five semitone descent from an open note. Various acoustic measurements are reported for the instrument which will be exhibited. [1] F. J. Young, “Five valve compensating brass wind instrument,” Proc. Meetings Acoust. 11, 035004 (2011).

Five valve compensating brass wind instrument.

A companion paper shows how a triple brass instrument can be designed to yield a nearly perfect, well tempered intonation. This cannot be easily applied to the larger low-brass instruments because the inertia of triple valves increases as the square of the radius and varies with height. Double piston valves have been used for more than 130 years to change the pitch of large brass instruments. In May 2009, this author presented most of the known 3 and 4 valve systems including compensating ones. However well optimized, they are not in tune within plus or minus 5 cents. To solve this problem an instrument with four double valves and a tritone switch valve is presented and optimized to minimize the rms intonation error. The ratios of slide lengths to the instrument’s length are given by 0.126, 0.0631, 0.198, 0.337, and 0.413. The compensator slide ratios are 0.0522, 0.0261, 0.172, and 0.139. The instrument is to be tuned 3 cents sharp. Descending from the second open tone in semitones, the resulting errors in cents are 3.15, −2.97, −2.81, 2.65, 0, 0, 3.25, −2.97, −2.81, 2.65, 0, and 0. The rms intonation error is 2.37 cents, which is very acceptable in musical performance.

Optimal valve slide lengths for double and triple horns.

The optimal valve slide lengths for three valve double and triple brass instruments are investigated to ensure that the errors in intonation never exceed five cents sharp or flat over the range of playing. Using the method of least squares to minimize the intonation errors caused by various common valve combinations, it is shown that tuning the open tone 3.2 cents sharp and making suitable valve slide adjustments yield an overall root mean square error of about 2.6 cents. This calculation does not count the errors resulting with the 13 and 123 valve combinations encountered in the low register of the F side of the horn. At the risk of stuffiness, these notes are often corrected by alteration of the right hand position. The best overall intonation is shown to exist for the triple horn in F, Bb, and high Eb, exhibiting the overall root mean square error of about 2.6 cents. In this case the pedal notes on the high Eb side of the horn are used. They are fingered 12 and 23 for said low G and F#. The more common triple horn in F, Bb, and high F requires the use of the 13 and 123 combinations.

Optimization of valve tube lengths for brass instruments.

The intonation deviations from the well-tempered scale are presented for valve brass wind instruments. Compensating and full double instruments are considered. Systems including descending valves and less popular ascending valves are studied. The lengths of the valve tubes are optimized by minimizing the overall root mean squared (rms) intonation error using the method established in 1967 [R. Young, J. Acoust. Soc. Am. 42, 224–235 (1967)]. Open note detuning is considered in each case and improves the overall intonation. The worst three valve instrument without open note detuning has an rms deviation 24 cents The best of the three and four valve instruments is a three valve compensating euphonium tuned 3 cents sharp on the open notes and flat on valves 2, 1, and 3 by 3, 3, 10 cents, respectively. It exhibits only 2 cents rms deviation on single valves and less than 3 cents on combinations of valves. The comparisons also include several new three, four, and five valve systems. Included is a double horn with only two double valves and a switch valve.

Intonation focus in the interlanguage of a group of Spanish learners of English

The present paper is a report on intonation errors made by a group of Spanish learners of EFL in their last year of Secondary School (2° Bachillerato). More specifically, we attempt to identify and classify the errors relating to the students' use of intonation to highlight information. With this aim in mind, we have used the tonetic approach to intonation analysis as the theoretical framework for the study. When comparing the students' performance with English native speakers', two types of errors emerge, interference and developmental. Once more, contrasts between English and Spanish regarding the focalisation of information by means of intonation (tonicity) can serve the purpose of explaining some of the errors (interference). At the same time some developmental errors are detected in the students' intonational interlanguage.

Call before 10 AM or after midnight

Most of the people who perform music do so in the capacity of choir singers. An understanding of the particular acoustic properties of the choral sound is of interest not only to performers, but also to educators, architectural acousticians, audio technicians, and composers. The goal of choir acoustics is to describe various aspects of choral sound in acoustic terms, thereby taking into account the acoustics of voice production, the acoustics of rooms, and psychoacoustic properties of the auditory system. This article is an overview of choir acoustics research done in Stockholm over the past 8 years. It is an abridged and adapted version of an overview given in the author's dissertation, Acoustical Aspects of Choir Singing. Three different kinds of experiments were made: (a) the control of phonation frequency and the vowel articulation of choir singers were investigated, by having individual choir singers perform vocal tasks on demand or in response to auditory stimuli; (b) typical values of sound levels, phonation frequency scatter, and long-time averaged spectra were obtained by measurements on choir singers rehearsing in ensemble under normal or near-normal conditions; and (c) models for certain aspects of choral sound were formulated and evaluated by synthesis. The choir singer's performance is based on two acoustic signals: her or his own voice (the feedback) and the rest of the choir (the reference). Intonation errors were found to be induced or increased by (a) large level differences between the feedback and the reference, (b) several perceptually unfavorable spectral properties of the reference, and (c) articulatory maneuvers, i.e., intrinsic pitch. The magnitude of the errors would be indirectly related to room acoustics (a and b) and to voice usage and musical/textual content (b and c). When singing alone, singers from one choir used a vowel articulation that was different from that in speech and also more unified; it was also in some respects different from solo singing. Long-time average spectrum effects of room acoustics and musical dynamics were large, as expected; those of choir type and musical material were smaller. To some extent, choirs adapted their sound level and voice usage to the room acoustics. Small random fluctuations in phonation frequency, called “flutter” and “wow,” are always present in human voices. With multiple voices, flutter and wow cause, through interference, a pseudorandom, independent amplitude modulation of partial tones, which is known to cue the perceptual “chorus effect.” The chorus effect is also influenced by the reverberation properties of the room. Choral sounds were explored by means of synthesis, and the importance of realistic flutter was established. Flutter in choir singers was analyzed and simulated in single synthesized voices. Expert listeners were unable to discriminate between simulated and authentic flutter.

Discrimination between Tone Quality and Intonation in Unaccompanied Flute/Oboe Duets

The purpose of the study was to investigate discrimination in tone quality and intonation. Four-hundred-eighty (480) music and nonmusic graduate and undergraduate subjects checked good and bad quality/intonation classifications by listening to each of twenty-four oboe and flute duet performances. The duets were unaccompanied and performed either with good or bad quality and close to equal temperament or were adjusted 50 cents sharp between one instrument and the other. Results of the study indicated that there was a significant difference between the music and nonmusic majors across categories, with the music majors making more correct discriminations than nonmusic students. A significant difference in subjects' indications of total intonation performance errors showed 38% “sharp” responses and 62% “flat” responses. This finding, while somewhat surprising, is consistent with prior research. Subjects perceived more intonation errors (although incorrectly) than tone quality errors. When indicating a preference for tone quality subjects were actually responding to intonation variables as opposed to quality variables throughout almost all of the com parisons.