Level Of Intonation Research Articles

Prosody matters: Preserved prominence marking strategies in people with Parkinson's disease independent of motor status.

While many studies focus on segmental variation in Parkinsonian speech, little is known about prosodic modulations reflecting the ability to adapt to communicative demands in people with Parkinson's disease (PwPD). This type of prosodic modulation is important for social interaction, and it involves modifications in speech melody (intonational level) and articulation of consonants and vowels (segmental level). The present study investigates phonetic cues of prosodic modulations with respect to different focus structures in mild dysarthric PwPD as a function of levodopa. Acoustic and kinematic speech parameters of 25 PwPD were assessed in two motor conditions. Speech production data from PwPD were collected before (medication-OFF) and after levodopa intake (medication-ON) by means of 3-D electromagnetic articulography. On the acoustic level, intensity, pitch, and syllable durations were analyzed. On the kinematic level, movement duration and amplitude were investigated. Spatio-temporal modulations of speech parameters were examined and compared across three different prosodic focus structures (out-of-focus, broad focus, contrastive focus) to display varying speech demands. Overall, levodopa had beneficial effects on motor performance, speech loudness, and pitch modulation. Acoustic syllable durations and kinematic movement durations did not change, revealing no systematic effects of motor status on the temporal domain. In contrast, there were spatial modulations of the oral articulators: tongue tip movements were smaller and lower lip movements were larger in amplitude under levodopa, reflecting a more agile and efficient articulatory movement under levodopa. Thus, respiratory-phonatory functions and consonant production improved, while syllable duration and tongue body kinematics did not change. Interestingly, prominence marking strategies were comparable between the medication conditions under investigation, and in fact, appear to be preserved in mild dysarthric PwPD.

Studying the Structure of the Sound of Russian Speech by Chinese and Ghanaian Students in a Digital Format: a Linguodidactic Aspect

The purpose of the research is to study the peculiarities of the structure of the sound of Russian speech by Chinese and Ghanaian students at different levels of study, based on experimental phonetic programs. The subject of the study is the intonational structure of the main communicative intentions: greeting, address, completion, incompletion, a question without an interrogative word, a question with the Russian conjunction «а» (“and”), a positive evaluation and surprise. The study contributes to the creation of an ethno-oriented methodology for teaching Russian intonation. The scientific novelty is in the analysis of the sound of the Russian speech of foreign students at the syntagma level in comparison with that of a native Russian speaker using the Praat and Lingvodoc programs. The results of the study consist in the visual representation of the peculiarities of the structure of the main communicative intentions in the Russian speech of Chinese and Ghanaians to predict and correct errors at the level of intonation.

American English pitch accents in variation: Pushing the boundaries of mainstream American English-ToBI conventions

Linguists interested in intonation have long struggled to establish a maximally broad set of annotation conventions that function equally well across varieties of American English. The current study tests the advantages and limitations of the widely-used MAE-ToBI conventions, focusing on the H* and L+H* distinction, for three varieties of American English: African American English, Appalachian English, and Jewish English. Results of quantitative analysis of production data from 30 speakers of the three varieties finds major differences in rate of use of the H* and L+H* pitch accent as well as the phonetic realizations of these pitch accents, which may not be captured solely using the MAE-ToBI conventions. These differences appear not only between MAE-ToBI and the other three varieties, but also between the varieties themselves in unique ways that may shed light on the nature of sociolinguistic variation at the level of intonation, as well as the debated status of the distinction of H* vs. L+H* as a phonological or phonetic distinction. These findings provide further motivation for the development and use of annotation systems that explicitly consider sociolinguistic variation as well as phonetic parameters. Such systems will become even more essential as both sociolinguists and phoneticians expand intonational analysis beyond so-called “standard varieties” in order to arrive at a richer and more accurate picture of the intonational system of American English.

The development of a sense of rhythm in students in the process of choral conducting training

The purpose of this article is to study the effectiveness of pedagogical and psychological conditions that form a sense of rhythm in students (n=200) involved in conducting. The study was conducted in 2017-2019 among 1-2 year students from Central Conservatory of Music in Beijing (China). In the control part of the experiment, 42% of students were in the group with a low level of rhythm perception. The number of students with a low level of intonation of musical rhythm was reduced by 2.0 times, a combined response as a key element of the conductor gestures of conducting was increased by 2.81 times.

Symphonic Volume in the Symphony-Requiem by Bohdana Frolyak “Pravednaya Dushe”

Relevance of the study. The article is relevant as it studies the works of Bogdana Frolyak, who is a popular contemporary Ukrainian composer. Her music attracts the attention of performers and researchers and reflects the current trends of contemporary art such as musical language, new forms of choral sound, synthesis of genres. The Requiem Symphony “Righteous Ssoul” (lyrics by T. Shevchenko) is an example of a complex multidimensional nature genre renewal. Therefore, lack of research devoted to this work outlines a scientific novelty of this article. The objective of the study is to identify the features of symphony in the symphonyrequiem “Righteous Soul” by B. Frolyak. The research methodology is based on the interpretation analysis method proposed by V. Moskalenko. The concept of A. Adamyan is used to study symphonic principles. Results. Analysing the requiem symphony “Righteous Soul”, it was determined that the leading role is devoted to chorus, which serves as a main mean of expression. The choir is regarded as a symbol of collegiality and stands in as an active participant in the formation of musical thought and sounds through almost the entire opus (except for two vocal episodes). T. Shevchenko’s poetic lines are entrusted to mixed chorus and embody a main idea of the work. Choral fragments serve various functions starting from the creation of a harmonic background to being a main storyteller. At the same time, B. Frolyak’s composition realizes symphonic principles, which display themselves at different levels of organization of musical material. Symphonic patterns are expressed in timbre-textured and thematic connections, cross-cutting development, national instrumentation color and intonation transformations of themes. The composer’s principle of artistic thinking reveals parallels with the symphonic concept developed by A. Adamyan. Conclusion. A special genre multidimensionality is expressed in the symphony-requiem “Pravednaya Dushe”. B. Frolyak enriches the semantic layer of the work due to the features of the requiem. Composer takes an advantage of the cathedral’s choral sonority rich possibilities and uses the symphonic intonation and dramatic basis. At the intonation level, she unites all these features with the help of solospiv (solosining) — a musical symbol of Ukrainian nation. Finally, unique synthesis of supersubstantial spiritual and philosophic ideas with universal (symphony, requiem) and national characteristic (solospiv) genres makes B. Frolyak’s work one of the most original in the series of Ukrainian choral symphonies.

Jutustajateksti muutlikkus Fjodor Dostojevski romaani „Vennad Karamazovid“ eestikeelsetes tõlgetes / Changeability of the narrator’s text in the Estonian translations of Fyodor Dostoyevsky's novel The Brothers Karamazov

Jutustajateksti muutlikkus Fjodor Dostojevski romaani „Vennad Karamazovid“ eestikeelsetes tõlgetes / Changeability of the narrator’s text in the Estonian translations of Fyodor Dostoyevsky's novel The Brothers Karamazov

Вопросительные высказывания в русской и испанской звучащей речи (на материале телеинтервью)

This article is devoted to the study of interrogative statements in Russian and Spanish sounding speech. The role of intonation in creating interrogative meaning is considered. The research is based on the analysis of fragments of video recordings of TV interviews. The texts of the video recordings of the sounding quasi-spontaneous Russian and Spanish speech of the participants of the TV interviews were subjected to an auditive analysis. Analysis of the results of the study of the parameters of interrogative statements in Russian and Spanish sounding speech made it possible to conclude that the behaviour of melodic signs on stressed syllables is nationally specific: the peculiarity of Spanish intonation, which clearly contrasts with Russian, consists in the continuing melodic movement on back-stressed syllables. Based on these parameters of interrogative statements, an attempt is made to represent the system at the intonation level for the Russian and Spanish languages. The appeal to the systematic approach in the study of the intonation level allows us to determine the main units of this level - intonemes as sets of differential features for each of the languages that form communicative types of utterances, and draw conclusions about the main differences in intonation systems.

Exploring Intonations in Sesame Street’s Puppet Shows: A Phonological Perspective

Intonation is a primary aspect in phonology, particularly in the supra-segmental area. Intonation carries meaning and changing the intonation of an utterance can quickly change the meaning of that utterance. This research aims to discover the patterns of intonation used in Sesame Street's puppet show and identify how interpersonal meaning is constructed on the show. This research was conducted from a phonology perspective and using the qualitative method. This research concentrates on phonology, mainly the supra-segmental area that is intonation. The focus of this study was on the relation between intonation patterns (tonality, tonicity, and tone) and interpersonal meaning. The website of Sesame Street was the source of Primary data for this study, as well as the puppet show's episode "Alphabet Race" (from Season 38). This research involved the researchers as its major instrument for analysing the data. In the process of collecting data, the researchers did documentation. This analysis finds the different division of the information between the systemic functional grammar level and the intonation level, which is shown from the clauses and tone units found in the show. The findings of this research provide teachers and EFL learners with further insight into how utterances deal with their intonation.

Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov

Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov

Principles of interpreting P. Tychyna’s poetry in the vocal cycle “Enharmonic” by L. Dychko

Principles of interpreting P. Tychyna’s poetry in the vocal cycle “Enharmonic” by L. Dychko

Hypernasal Speech Is Perceived as More Monotonous than Typical Speech

Background/Purpose: Anecdotal clinical reports have stated that hypernasal speech sounds monotonous. However, the relationship between the perception of intonation (i.e., the fundamental frequency variation across an utterance) and hypernasality (excessive nasal resonance during the production of non-nasal sounds) has not been investigated in research. We hypothesized that auditory-perceptual ratings of intonation would be significantly lower for more hypernasal stimuli. Methods: One male and one female voice actor simulated 3 levels of intonation (monotone, normal, and exaggerated) at 4 different levels of hypernasality (normal, mild, moderate, and severe). Thirty participants listened to the simulations and rated the intonation on a visual analogue scale from 0 (monotone) to 100 (exaggerated). Results: A mixed-effects ANOVA revealed main effects of intonation (F₂ = 236.46, p < 0.001), and hypernasality (F₃ = 159.89, p < 0.001), as well as an interaction between the two (F₆ = 28.35, p < 0.001). Post hoc analyses found that speech was rated as more monotonous as hypernasality increased. Summary/Implications: The presence of hypernasality in speech can lead listeners to perceive speech as more monotonous. Instrumental measures should be used to corroborate auditory-perceptual evaluations of speech features like intonation.

Hennady Liashenko’s «Technems» for winds incontemporary context of Ukrainian instrumental music

Relevance of the study . The main direct of the European instrumental music development is a genre and stylish synthesis. A lot of contemporary oboe solo and ensemble with oboe works by Ukrainian composers are signed by those charakteristik. For example, the cycle of «Technems» by H. Liashenko from the five instrumental concert pieces, – hich have inside two original compositions with oboe, – take an important place in the composer’s creation; this pieces are known as the wide examples of contemporary concert repertuar for ensembles. They present a new kind of chamber music which was beginning with the Liashenko’s «Technems», and it’s not researching enough till now. Main objective of the study is to pay attention to this new and original genre for ensemble with oboe – «Technem № 1» for wind quintet and «Technem № 4» for oboe and fagot as soloists with the baroque symphony orchestra. Methodology The provident in this study is the comparative analyses’ method. How the study was done. The «Technem № 1» for wind quintet we’re noting as the stylish unite. It’s based on individual composer’s meaning about the melodically uniting of the themes and about it’s rules. The important direct of studying in Liashenko’s works is his meaning about «growth in form»: the whole is growth from one element. Thanks to using those principal means in his compositions, work’s structure look like the one qualities unit, while inside ones we can find a different types of intonations and of stylish elements. Results and conclusions . The sphere of wind concerts is continue by «Technem № 4», which seems as a double concert for oboe and fagot. It is the next step in the composer’s process, when the main characters of stylish synthesis are seeing on the level of intonation, form and shows the kind of nearby connections between romantic and baroque. Practical significance . The well-known connective tradition «performer – author – performer» is actually till today, and sometimes we can trade it as the corporative form of interpretation as creation.

Research on Heritage Spanish Phonetics and Phonology: Pedagogical and Curricular Implications

Abstract This paper creates a novel link between research on linguistics and education by discussing what we know about the sound system of heritage language users of Spanish and how these findings can inform practices implemented in heritage Spanish courses in the USA. First, we provide an overview of terminology associated with heritage language research, situating heritage Spanish programs within the educational context of the USA, and explaining why heritage Spanish phonetics and phonology remain relatively unexplored. Next, we delve into previous linguistic research on the heritage Spanish sound system in terms of individual vowels and consonants, as well as at the level of intonation, rhythm, and stress, while highlighting any observed differences between the system of heritage Spanish and those of Spanish speakers of other backgrounds. Finally, motivated by the phonetic/phonological insight of previous work, in addition to existing pedagogical and curricular research on heritage Spanish, we consider how and why the inclusion of specific types of sound-system-based commentary and practice in the educational experience of heritage users of Spanish could be beneficial.

The Experience of Linguistic and Folklore Interaction in the Circumstances of the Single Cultural Space of Yakutia

The article deals with the current trends of the language situation and problems of preservation of minor languages in Yakutia—the largest region of the Russian Federation. The peoples living in the region (the Yakuts, Russians, Yukagirs, Evens, and Evenkis) have 400 years of the interethnic and intercultural cooperation experience. The interference is observed at the language, folklore, ethnic musical, and other levels. Bilingualism and multilingualism of various kinds, as well as assimilation processes, are intensively developing. Currently, the most typical types of bilingualism and multilingualism in Yakutia are the Yakut-Russian, Russian-Yakut-Evenki, Russian-Yakut-Even, Russian-Yakut-Chukchi types and various variations thereof. One of the features of the language situation in Yakutia is described as the current state of the Russian language of old residents of the lower reach of Indigirka, which is characterized by metalinguistic consciousness. The article also considers the features of the contacts of the Russian old-timers in the lower reaches of Indigirka and Kolyma with the spiritual culture of the aborigines of Yakutia with regard to folklore texts and traditional music at the plot and harmony intonation level. As the experience of the text folklore interaction, the peculiar features of the Russian songs due to the impact of the Yukagir folklore are described. Examples of reciprocal processes of the Russians living in Kolyma and Indigirka with the musical folklore of the Yakuts and Yukagirs are provided. DOI: 10.5901/mjss.2015.v6n4s4p72

An experimental test of the relationship between voice intonation and persuasion in the domain of health

Objective: In the process of behaviour change, intonation of speech is an important aspect that may influence persuasion when auditory messages are used. In two experiments, we tested to what extent different levels of intonation are related to persuasion and whether for some recipients the threat posed by the message information might become too strong to face.Design: In Study 1, 130 respondents listened to a health message with either a low, moderate or high level of intonation. In Study 2 (N = 143), the same manipulations of intonation were applied but half of the respondents were affirmed before they listened to the persuasive message. Intention to increase fruit and vegetable intake was used as a dependent variable.Results: Both studies showed that high intonation led to a significant drop in intention among respondents who perceived their own health as good. After self-affirmation, persuasion was increased.Conclusion: A high level of intonation seems to induce self-regulatory defences in people who do not see the necessity to change their health behaviour, whereas people with poor perceived health might perceive potential to change. The use of a normal level of intonation in auditory health messages is recommended.

음성녹음 기반의 실감형 어학시스템 콘텐츠 개발

기존의 어학시스템 콘텐츠의 문제점은 수업에 대한 집중력 저하와 실제 학습여부를 판단할 수 없었고, 수업 진행자의 평가로 많은 결정이 되었다. 이로 인해 음성녹음 기반에 유비쿼터스 기술과 가상현실 기술을 조합하여 강의실에 프로젝터를 설치하고 각 강의실의 RFID 리더기 부착과 학생의 RFID 태그 부착된 학생증을 통해 영어 등급에 해당하는 콘텐츠를 학습한다. 3차원 영상 콘텐츠로 가상 현실상의 외국인과의 질의응답을 음성녹음 기술을 이용하여 발음과 억양을 동시에 체크 하여 레벨 패스 또는 레벨 실패를 판가름 한다. 이렇게 구성된 시스템은 학생 교육 데이터를 중앙 서버에 DB로 저장후 피드백 과정을 통해 정보를 제공하게 된다. 본 연구로 어학 콘텐츠에서 공통적으로 가질 수 있는 문제점들을 분석하고 문제점에 대하여 음성 녹음기술을 적용하여 기존의 어학콘텐츠에서 해결하지 못했던 문제점을 해결하였고 레벨위주의 수업이 가능하였다. 또한, 흥미위주의 적극적인 수업참여가 되도록 기여하였다. Learning a lesson about poor concentration and problems of the existing content, the system of language which could not be determined, Many teachers' assessment decision was made. As a result, voice recording based on the combination of ubiquitous technology and virtual reality technology, and install the projector in a classroom Through the learning content corresponding grade English student ID card attached RFID reader in each classroom, and students of RFID tags attached. In reality of the virtual three-dimensional image content foreigners and question-and-answer using the voice recording technology at the same time check the pronunciation and intonation level passes or level failure judged. Student education data to a central server system is configured to do so after saving to the DB through a feedback process, which provides information. Analysis of the issues that can have a common language content in the present study and Problem for voice recording technology to solve the problem and did not solve the existing language in the content level based classes.

Meter and Context: Hardy's "Neutral Tones"

R.W. King's 1925 comment, that Thomas Hardy's well-known 1867 poem, Neutral Tones, was distinguished by kind of acrid clarity in both thought and style, (1) led Claire Senior to reply that, nonetheless, few readers today would praise Hardy for clarity. (2) This exchange might suggest why Neutral Tones continues to be an intriguing poem, since it highlights a paradoxical sense that poem's effectiveness derives from expressive relation between dismal, matter-of-fact aura of its mundane scene, and contrary perception that there is much within and outside poem, that is withheld, elided, obscure. The reading offered in this article is exercised, like that of many critics and biographers since King, by a sense of complex generative ratio between what is clear and singular, though haunting about poem, and all that is reticent, or enigmatic--about its speaker, its situation, and young poet who wrote it. What this piece seeks primarily to do, though, is to approach interlocking affective, subjective, and biographical dimensions of poem through a close, sustained, examination of its meter. The main emphasis is on describing how poem's distinctive modernity surfaces in its registration of disillusion, triumphantly controlled and evident at level of intonation as well as theme. The reading seeks to show how far originality of poem is essentially a matter of voice and tone, of micro-enactments and expressive disjunctions that register fluctuations and refluxes of speaker's stalled feeling and self-awareness. A related biographical suggestion is that very success of poem, premised as it was on an inscription of affective failure and contingency, might have been discomfiting for young Hardy who would shortly after 1867 abandon for an indefinite time his main dedication to poetry. Linda Shires has described definitively post-Romantic aesthetic scoped in poem. (3) However, one wonders (to put it no more strongly) if Hardy at this time was personally equipped to pursue this kind of inspiration. He was, after all, a young man ardent about poetry and romance, as well as wily, gifted and ambitious. However, he was also socially insecure, depressive, hyper-sensitive, and self-doubting, and irony would not have been lost on him that his muse in this first great poem was so relentlessly unsparing, dissociative, and agnostic. Of course, to say that Neutral Tones reveals Hardy's poetic sensibility is not to confuse poem's speaker with Hardy himself. J.M.P. Gleeson has usefully counseled critics against such conflations, while emphasizing that Hardy gains by exploiting two overlapping kinds of tension: firstly, that between biographical and poetic selves, and secondly, that between Romantic and Modernist lyrical modes. (4) In reading that follows, sense of Hardy as a poet between times is evident not merely in specific themes, or temporal problematic, of poem itself, but also rhythmically speaking, in a dynamic derangement of pattern that is means by which specifically ungrounded, disjunctive, and ironic Hardyan voice emerges against nineteenth-century precedents. The well-known analogy drawn in Life between a strategic irregularity in meter, and that of Gothic architecture was, it was worth remembering, one drawn in early years with a certain defensiveness. Through it, Hardy wrote, he fortified himself against undermining strictures of those for whom metrical pauses, and reversed beats were marks of poetic incompetence, rather than necessary resources of a poetry that sought spontaneity, and that was more concerned with stress than ... syllable, poetic texture rather than poetic veneer. (5) This accords with Dennis Taylor's central perception that Hardy's virtuosity in diverse metres and stanzaic forms was related to dialectic between the abstract nature of form and spoken language. …

Raising EFL students’ awareness of English intonation functioning

The study investigates the importance of EFL (English as a foreign language) students’ awareness of English extended pitch sequences realised within complex utterances and text sub-topics. Considering these higher levels of intonation functioning alongside with the tone group turned out to be crucial for adequate intonation production by Russian learners of English. The experimental group of university students (n = 12) and the control group (n = 12) involved in a 10-week teaching experiment demonstrated different levels of reading intelligibility depending on whether they had been taught these sequences or not. According to the listening experts, the experimental group supplied with an algorithm of connecting the pitch sequences with meaning showed 43% higher results in text information structuring and 21% better results in producing L2 (second language) intonation forms than the control group. The necessity of special efforts on the part of the students to master these levels of L2 intonation organisation might indicate that they are language-specific and are likely to vary in their communicative value from language to language.

Intonation in neurogenic foreign accent syndrome

Foreign accent syndrome (FAS) is a motor speech disorder in which changes to segmental as well as suprasegmental aspects lead to the perception of a foreign accent in speech. This paper focuses on one suprasegmental aspect, namely that of intonation. It provides an in-depth analysis of the intonation system of four speakers with FAS with the aim of establishing the intonational changes that have taken place as well as their underlying origin. Using the autosegmental-metrical framework of intonational analysis, four different levels of intonation, i.e., inventory, distribution, realisation and function, were examined in short sentences. Results revealed that the speakers with FAS had the same structural inventory at their disposal as the control speakers, but that they differed from the latter in relation to the distribution, implementation and functional use of their inventory. The current results suggest that these intonational changes cannot be entirely attributed to an underlying intonation deficit but reflect secondary manifestations of physiological constraints affecting speech support systems and compensatory strategies. These findings have implications for the debate surrounding intonational deficits in FAS, advocating a reconsideration of current assumptions regarding the underlying nature of intonation impairment in FAS. Learning outcomes: The reader will be able to (1) explain the relevance of intonation in defining foreign accent syndrome; (2) describe the process of intonation analysis within the autosegmental-metrical (AM) framework; and (3) discuss the manifestation of intonation changes in FAS at the different levels of intonation and their potential underlying nature.

The Interaction between Consonant Types and Tone of the Chonnam Dialect of Korean

CINITIAL has the strongest effect on F0 among the four factors in cases of both pooled and individual data. Such an effect indicates that there is a strong correlation between the initial consonant type and tone: H following aspirated and tense consonants and LH following other consonants. Vowel has also an effect on F0 throughout the three temporal locations but its effect is much weaker than that of CINITIAL in size (Hz). However, the effect of Length and CFINAL on F0 is found to be almost negligible. Interactions between factors are found to be due to sporadic - presumably is linguistically unimportant - effects rather than to systematic difference. A more through phonetic study suggests that there is a strong correlation between consonant types and tone, confirming Jun's earlier observation. For the fact that consonant types correlated with tone, the phonological discussion of Jun's analysis and an alternative analysis is provided. Jun explains the consonant type-tone interaction in terms of the phonologization of laryngeal effect at an intonational level of Korean phonology. However, in Jun's analysis, it still remains clear why there is a correlation if the laryngeal effect is phonologized. Contrary to Jun, the consonant types-tone interaction is well accounted for in the alternative analysis in terms of the voice hypothesis that lax consonants are underlyingly voiced. This interpretation has potential implications for tonogenesis.