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Journal articles on the topic 'Intonation'
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Amanbayeva, A. Zh. "INTONATION-SYNTACTIC STEREOTYPE OF ZHYRAU POETRY OF THE XV-XVIII CENTURIES." Tiltanym 87, no. 3 (September 30, 2022): 3–13. http://dx.doi.org/10.55491/2411-6076-2022-3-3-13.
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In the article, the relevance of the study is to identify intonational and stereotypical features in the poetic texts of such zhyrau as Asan Kayy, Kaztugan, Dospambet, Shalkiyz, Zhiembet, Margas, Aktamberdy, Umbetei, Bukhar, who lived in the XV-XVIII century, formed a model of oral literature, zhyrau traditions, and then showed the life of the country, the social life of the country to the next generation, adding sadness and need to the song. Also, in the research work, the specifics of oral audio oratory art, the manifestation of oral technical means in the poetic art of zhyrau and the mastery of its expression are taken as a basis to glorify the place in the traditions of the distant zhyrau. The specific features of intonation in the poetics of ravines are also analyzed and models of intonations are proposed. Based on the conducted research, genre features of zhyrau poetics are distinguished, such as commandment, blessing, dedication, appeal, praise, farewell, mourning, and curses. The main purpose of the research work is to determine what is the role of intonation in expanding the Kazakh knowledge through zhyr. As well as comparing the repeated points (stereotypes) of each zhyrau in his poems, identifying what he used for them, indicating genre features and conducting an intonational analysis. The study aims to identify the function of intonation in the poetry of zhyrau, identify the intonemes characteristic of zhyrau poetry, and propose models of intonations.
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Cruttenden, Alan. "Intonational diglossia: a case study of Glasgow." Journal of the International Phonetic Association 37, no. 3 (December 2007): 257–74. http://dx.doi.org/10.1017/s0025100307002915.
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Auditory and acoustic data were produced from recordings of a Glaswegian English speaker in conversational and reading modes. Clearly different intonational systems were used in the two modes. The reading style used an intonation similar to that used in standard British intonation (the intonation of ‘Received Pronunciation’ (RPI)). The conversational style was an example of the type of intonation used in a number of cities in the north of the UK (Urban North British Intonation (UNBI)), characterised by a default intonation involving rising or rising-slumping nuclear pitch patterns. This speaker illustrates a clear-cut case of intonational diglossia with a falling default tune in the one mode and a rising(-falling) default tune in the other.
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Kazantseva, Liudmila P. "Musical Intonation: Aesthetic and Historical- Culturological Aspects." IKONI / ICONI, no. 1 (2022): 120–37. http://dx.doi.org/10.33779/2658-4824.2022.1.120-137.
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The two previous lectures from the cycle “Musical Intonation” were devoted to the concept of musical intonation, its sound contours, semantics, genre-related and stylistic traits. The third and final lecture suggests concentrating our attention on the two sides of intonation – its aesthetic particularities and dramaturgical features, as well as its existence in the historical-culturological context. The aesthetical side of intonation is disclosed by means of applying the apparatus of aesthetical categories (the dichotomy of beautiful vs. ugly, etc., the Aristotelian triad). The study of intonational dramaturgy finds the teaching about rhetorical disposition (the logical phases of unfolding the process) and the typology of the intonational-dramaturgic models to be productive. The theory of “intonational vocabulary” and “intonational crises” put forward by Boris Asafiev is conducive towards examination of the evolution of intonation in the mirror reflection of music history. The multiangle analysis of musical intonation as an intrinsically valuable microcosm combined with a large-scale scope of its historical-culturological existence presents a complex, yet perspective path of its knowledge.
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Alkhazaali, Musaab Raheem. "Intonation in Iraqi Musical Melodies." Buckingham Journal of Language and Linguistics 9 (May 31, 2017): 75–90. http://dx.doi.org/10.5750/bjll.v9i0.1060.
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This paper deals with intonation in Iraqi musical melodies (MMs). As such, it aims to analyze the intonational patterns in the Iraqi music. The main musical melodies in the Iraqi music are Rast, Dasht, Hijaaz, Kurd, and Bayaat. In this vein, the current study attempts to answer the following questions: the current paper attempts to answer the following questions: (i) What are the intonational patterns of Iraqi MMs? And (ii) What is the additional function of intonation in MMs? In the light of these questions, the corner hypothesis is that Iraqi MMs have their own specific definable intonational patterns. On the basis of the analysis, it is concluded that intonation can be a useful tool for analyzing musical variations in the basic Iraqi MMs. Moreover, musical intonation, which is the task of musicologists, is accompanied by phonological intonation to create the final form of the melody. Finally, in addition to previous functions of intonation, such as grammatical, semantic, and so on, intonation has a new one, namely ‘musical function’ because it gives music special effects and evaluations.
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Cruttenden, Alan. "Mancunian Intonation and Intonational Representation." Phonetica 58, no. 1-2 (2001): 53–80. http://dx.doi.org/10.1159/000028488.
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Col, Gilles. "Prosodie et émergence du sens : propositions pour une étude cognitive de l’intonation." Canadian Journal of Linguistics/Revue canadienne de linguistique 52, no. 3 (November 2007): 255–77. http://dx.doi.org/10.1017/s0008413100004308.
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AbstractThis paper aims at giving English intonation a driving role in the building and the emergence of meaning. It presents four propositions, going from the perception of intonation to its role in the representation of meaning. First, the concept of intonational form, based on the gestalt model of good form, is introduced. Second, the fundamental characteristic of intonational form is its dynamic nature. Third, intonation is positioned in the semantic layer, and is on par with the other linguistic components (syntax, lexicon, grammar). Finally, it is the evolution of the verbal scene that gives intonation its fundamental role.
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Krestar, Maura L., and Conor T. McLennan. "Responses to Semantically Neutral Words in Varying Emotional Intonations." Journal of Speech, Language, and Hearing Research 62, no. 3 (March 25, 2019): 733–44. http://dx.doi.org/10.1044/2018_jslhr-h-17-0428.
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Purpose Recent research on perception of emotionally charged material has found both an “emotionality effect” in which participants respond differently to emotionally charged stimuli relative to neutral stimuli in some cognitive–linguistic tasks and a “negativity bias” in which participants respond differently to negatively charged stimuli relative to neutral and positively charged stimuli. The current study investigated young adult listeners' bias when responding to neutral-meaning words in 2 tasks that varied attention to emotional intonation. Method Half the participants completed a word identification task in which they were instructed to type a word they had heard presented binaurally through Sony stereo MDR-ZX100 headphones. The other half of the participants completed an intonation identification task in which they were instructed to use a SuperLab RB-740 button box to identify the emotional prosody of the same words over headphones. For both tasks, all auditory stimuli were semantically neutral words spoken in happy, sad, and neutral emotional intonations. Researchers measured percent correct and reaction time (RT) for each word in both tasks. Results In the word identification task, when identifying semantically neutral words spoken in happy, sad, and neutral intonations, listeners' RTs to words in a sad intonation were longer than RTs to words in a happy intonation. In the intonation identification task, when identifying the emotional intonation of the same words spoken in the same emotional tones of voice, listeners' RTs to words in a sad intonation were significantly faster than those in a neutral intonation. Conclusions Results demonstrate a potential attentional negativity bias for neutral words varying in emotional intonation. Such results support an attention-based theoretical account. In an intonation identification task, an advantage emerged for words in a negative (sad) intonation relative to words in a neutral intonation. Thus, current models of emotional speech should acknowledge the amount of attention to emotional content (i.e., prosody) necessary to complete a cognitive task, as it has the potential to bias processing.
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SERENO, JOAN, LYNNE LAMMERS, and ALLARD JONGMAN. "The relative contribution of segments and intonation to the perception of foreign-accented speech." Applied Psycholinguistics 37, no. 2 (January 5, 2015): 303–22. http://dx.doi.org/10.1017/s0142716414000575.
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ABSTRACTThe present study examines the relative impact of segments and intonation on accentedness, comprehensibility, and intelligibility, specifically investigating the separate contribution of segmental and intonational information to perceived foreign accent in Korean-accented English. Two English speakers and two Korean speakers recorded 40 English sentences. The sentences were manipulated by combining segments from one speaker with intonation (fundamental frequency contour and duration) from another speaker. Four versions of each sentence were created: one English control (English segments and English intonation), one Korean control (Korean segments and Korean intonation), and two Korean–English combinations (one with English segments and Korean intonation; the other with Korean segments and English intonation). Forty native English speakers transcribed the sentences for intelligibility and rated their comprehensibility and accentedness. The data show that segments had a significant effect on accentedness, comprehensibility, and intelligibility, but intonation only had an effect on intelligibility. Contrary to previous studies, the present study, separating segments from intonation, suggests that segmental information contributes substantially more to the perception of foreign accentedness than intonation. Native speakers seem to rely mainly on segments when determining foreign accentedness.
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Salwa, Fika Nadiyah Umi, and Rohmani Nur Indah. "EXPLORING PROSODY OF STUTTERING DISORDER EXPRESSED ON MATICE AHNJAMINE VLOG." ENGLISH JOURNAL OF INDRAGIRI 7, no. 1 (January 3, 2023): 11–26. http://dx.doi.org/10.32520/eji.v7i1.2043.
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This study aims to identify the type of stuttering and analyze intonation that appears on Matice Ahnjamine in her YouTube vlog. Matice’s videos contain her stuttering life. The stuttering disorder as the difficulty in speaking can be seen from its type and the intonation pattern used when making statement. The research data are in the form of words, phrases, and sentences from the selected videos. The data analysis employs Zebrowski's theory (2003) on the type of stuttering, also a combination of Gimson (1975) and Wells (2006) theories in analyzing intonation in Matice's declarative sentences. The findings show four types of stuttering made by Matice, namely repetition, silent pause, prolonged vowel, and interjection. In addition, the intonation used in her speech shows that in the final words and stuttering words have different intonations because when stuttering words appear sometimes the intonation is not clear. Based on the findings, the dominant type of stuttering type appears is repetition and the intonation which often used at the end of the final word is falling intonation.
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Rahilly, Joan. "Towards intonation models and typologies." Journal of the International Phonetic Association 28, no. 1-2 (June 1998): 73–82. http://dx.doi.org/10.1017/s0025100300006265.
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Many existing intonation studies tend to be unenlightening for three main reasons. First, they do not acknowledge that intonational variation may be functionally significant. By effectively ignoring functional variation among accents, investigators therefore run the risk of missing explanations for variation which may be theoretically important. The question of degree of perceptual relevance in intonational variation is not considered in detail here, although the basic assumption is that intonation is capable of performing a range of roles. Second, few studies attempt to provide a detailed explanation of the model they have used for analysing intonation. This means that there is no way of knowing whether, for instance, nuclearity in one accent is realised in identical ways in other accents, or even whether the concept of nuclearity is applicable in other varieties. Finally, existing accounts offer little information which is useful for developing intonational typologies. Clearly, this is a consequence of the failure to recognise variation and to provide an agreed analytic model. The present article addresses the shortcomings mentioned above and points towards a means of overcoming them by highlighting the need for a systematic phonological approach to intonation analysis.
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Verbych, Nataliia. "NUCLEAR COMPONENTS IN THE INTONATION STRUCTURE OF THE TEXT." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 30 (2021): 8–11. http://dx.doi.org/10.17721/1728-2659.2021.30.2.
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The article presents the results of experimental study of prosody оn the Ukrainian language. The significance of intonation as an important factor influencing the audience in oral speech is described. Possibilities of functioning of intonation means in modern public performance are established. The object of analysis is the peculiarities of prosodic separation of the nuclear components of the text. The relevance of the analysis of the category selection is due to the trends in the development of experimental phonetics, in particular the shift of emphasis from the description of the intonation of the phrase to the analysis of pragmatic and textual aspects of intonation. In different languages there is a restriction on the set of intonation forms for the expression of individual intonation meanings, in particular completeness, incompleteness, emphaticity, selection. Each meaning has its own specific intonation form as opposed to the acoustic characteristics of other intonation forms. The average value of the topic of speech, the average duration of phrases, pauses, the characteristic of the frequency of the fundamental tone, the terminal tone and the intensity are defined in the scientific report. Activity of prosodic parameters in the selection of semantic center of phrase is determined. To realize its goal – to effectively impact on the audience, the speaker may be using as a maximum value (for example, the maximum frequency spacing in the nuclear syllables, a significant slowdown on the allocated segments of the phrase, average duration of the phrase) and the minimum values (the lowest level of the intonation contour, the minimum volume, duration, etc). The combination or contrast ratio of the maximum and minimum values for individual prosodic features on certain segments of verbal text contributes to the optimization of speech impact. Category intonational allocation is evident in the contrasting intonational marking of nuclear components, in their actualization and establishing relationships between them.
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Al-Jarf, Reima. "Intonational Meanings of Discourse Markers in Spoken Colloquial Arabic." Journal of Pragmatics and Discourse Analysis 3, no. 2 (July 14, 2024): 01–10. http://dx.doi.org/10.32996/jpda.2024.3.2.1.
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Intonation is the rise and fall of the voice while speaking. It expresses the attitudes and emotions and have a grammatical, discourse, linguistic, psychological and indexical functions. It makes significant and systematic contributions to utterance interpretation. This study sought to investigate the types of meanings and pragmatic functions that the discourse markers (طيب /Tayyib/ O.K, خلاص /xala:S/ (that’s it), إن شاء الله InshaAllah (God willing), ما قَصَّرْت /ma gaSSart/ & ما قَصَّرتِي /ma gaSSarti/ (much appreciated), لا لا /la: la:/ (no…no), يا ستي /ya sitti/ (ma’am), يا سلام /ya sala:m/ (wow), يا عيني /ya ؟eyni/, يا مسهل /ya: msahhil/ (asking God for making things easy), and يا ساتر /ya sa:ter/ (Oh My God) have when each is uttered with different intonation patterns in spoken Colloquial Arabic. Twenty student-translators received training in uttering the discourse markers with different intonations, identifying the meaning and/or purpose conveyed by each intonation, then they performed an elicitation and a judgment/interpretation task in which they were required to pronounce each discourse marker out loud with as variety of intonations and identify the meaning conveyed by each. Data analysis showed that each discourse marker has a variety of meanings and pragmatic functions when uttered with different intonations. The context makes it clear which meaning each intonation implies. Results of the interpretation of meanings that each discourse marker in the sample are reported in detail.
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Ely, Mark C. "Effects of Timbre on College Woodwind Players' Intonational Performance and Perception." Journal of Research in Music Education 40, no. 2 (July 1992): 158–67. http://dx.doi.org/10.2307/3345565.
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The purpose of this study was to investigate the effects of timbre on musicians' intonational acuities during a listening and a performance task. Nine saxophonists, nine clarinetists, and nine flutists from The Ohio State University School of Music participated in the listening and performance segments of this experiment. The performance data consisted of subjects' intonational deviations from recorded examples, and the listening data consisted of subjects' correct and incorrect responses to in-tune or out-of-tune tone pairs. The relationship between subjects' abilities to perform in tune and detect intonation problems, and the effects of timbre on subjects' abilities to perform in tune and detect intonation problems were assessed. Results revealed a low correlation between subjects abilities to play in tune and their abilities to detect intonation problems. Results also indicated that timbre had a significant effect on subjects' abilities to detect intonation problems, but not on their abilities to play in tune. Although there was no significant difference between instrument groups' abilities to detect intonation problems, a significant difference was found between these groups' abilities to play in tune across all timbres. Subjects played significantly more flat than sharp when matching other instrument timbres.
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Llorens, Ana. "Understanding expressive intonation." Quodlibet. Revista de Especialización Musical, no. 76 (December 17, 2021): 159–203. http://dx.doi.org/10.37536/quodlibet.2021.76.1403.
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Research on intonation has mainly sought for classifying and/or expressive explanations for performers’ strategies. In the field of music psychology and music perception, such explanations have been explored in terms of interval direction, size, or type; in the field of performance analysis, to which this article belongs, investigation on intonation has been not only scarce but also limited to short excerpts. In this context, this article explores Pau Casals’ intonational practice specific to his recording of Bach’s E flat major prelude for solo cello. To do so, on the basis of exact empirical measurements, it places such practice alongside the cellist’s conscious, theoretical recommendations apropos what he called “expressive” string intonation, showing that the interpretation of the latter should is not straightforward. It also proposes several reference points and tuning systems which could serve as models for Casals’ practice and looks for explanations beyond simple interval classification. In this manner, it ultimately proposes a structural function for intonation, in partnership with tempo and dynamics. Similarly, it understands Casals’ intonational practice not as a choice between but as a compromise for multiple options in tuning systems (mostly equal temperament and Pythagorean tuning), reference points (the fundamental note of the chord and the immediately preceding tone), the nature of the compositional materials (harmonic and melodic), and, most importantly, structure and expression.
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PRIETO, PILAR, ANA ESTRELLA, JILL THORSON, and MARIA DEL MAR VANRELL. "Is prosodic development correlated with grammatical and lexical development? Evidence from emerging intonation in Catalan and Spanish." Journal of Child Language 39, no. 2 (June 21, 2011): 221–57. http://dx.doi.org/10.1017/s030500091100002x.
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ABSTRACTThis investigation focuses on the development of intonation patterns in four Catalan-speaking children and two Spanish-speaking children between 0 ; 11 and 2 ; 4. Pitch contours were prosodically analyzed within the Autosegmental Metrical framework in all meaningful utterances, for a total of 6558 utterances. The pragmatic meaning and communicative function were also assessed. Three main conclusions arise from the results. First, the study shows that the Autosegmental Metrical model can be successfully used to transcribe early intonation contours. Second, results reveal that children's emerging intonation is largely independent of grammatical development, and generally it develops well before the appearance of two-word combinations. As for the relationship between lexical and intonational development, the data show that the emergence of intonational grammar is related to the onset of speech and the presence of a small lexicon. Finally, we discuss the implications of these results for the biological hypothesis of intonational production.
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Colantoni, Laura, and Liliana Sánchez. "The Role of Prosody and Morphology in the Mapping of Information Structure onto Syntax." Languages 6, no. 4 (December 13, 2021): 207. http://dx.doi.org/10.3390/languages6040207.
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The mapping of information structure onto morphology or intonation varies greatly crosslinguistically. Agglutinative languages, like Inuktitut or Quechua, have a rich morphological layer onto which discourse-level features are mapped but a limited use of intonation. Instead, English or Spanish lack grammaticalized morphemes that convey discourse-level information but use intonation to a relatively large extent. We propose that the difference found in these two pairs of languages follows from a division of labor across language modules, such that two extreme values of the continuum of possible interactions across modules are available as well as combinations of morphological and intonational markers. At one extreme, in languages such as Inuktitut and Quechua, a rich set of morphemes with scope over constituents convey sentence-level and discourse-level distinctions, making the alignment of intonational patterns and information structure apparently redundant. At the other extreme, as in English and to some extent Spanish, a series of consistent alignments of PF and syntactic structure are required to distinguish sentence types and to determine the information value of a constituent. This results in a complementary distribution of morphology and intonation in these languages. In contact situations, overlap between patterns of module interaction are attested. Evidence from Quechua–Spanish and Inuktitut–English bilinguals supports a bidirectionality of crosslinguistic influence; intonational patterns emerge in non-intonational languages to distinguish sentence types, whereas morphemes or discourse particles emerge in intonational languages to mark discourse-level features.
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Fretheim, Thorstein, and Randi Alice Nilsen. "Terminal Rise and Rise-fall Tunes in East Norwegian Intonation." Nordic Journal of Linguistics 12, no. 2 (December 1989): 155–81. http://dx.doi.org/10.1017/s0332586500002031.
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This paper argues that there is a phonological opposition between falling and non-falling utterance-terminal tunes in East Norwegian intonation. East Norwegian intonational foci are characterized by a rising pitch movement and there is no way that you can raise the pitch even further to express “rising intonation”. What you obtain instead is a distinction between a focal rise followed by a terminal fall in pitch and a focal rise without a subsequent falling terminal. The falling vs. non-falling terminal contrast is utilized differently in Intonation Units (IUs) with just one Intonational Phrase (IP) than in IUs with more than one Intonational Phrase. In the former type of IU structure a falling terminal constrains the illocutionary potential of the communicative act; in the latter type the falling terminal adds an attitudinal bias, without constraining the illocutionary potential. While most non-falling and falling terminals in connected discourse can ultimately be related to the difference between “openness” and “finality”, respectively, this intonational contrast is shown to have a seemingly quite different function in imperatives.
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Dehé, Nicole. "The Intonation of Polar Questions in North American (“Heritage”) Icelandic." Journal of Germanic Linguistics 30, no. 3 (August 13, 2018): 213–59. http://dx.doi.org/10.1017/s1470542717000125.
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Using map task data, this paper investigates the intonation of polar questions in North American (heritage) Icelandic, and compares it to the intonation of polar questions in Icelandic as spoken in Iceland and in North American English as spoken in Manitoba, Canada. The results show that intonational features typical of Icelandic polar questions are present to a considerable extent in heritage Icelandic. Furthermore, intonational features typical of North American English polar questions can frequently be observed in heritage Icelandic, too. In addition, there is a tendency for intonational features typical of Icelandic polar questions to show up in North American English polar questions produced by speakers of heritage Icelandic more often than in North American English polar questions produced by speakers without Icelandic heritage. Focusing on intonation, the present study adds to the evidence for (bidirectional) prosodic interference between a heritage language (here moribund Icelandic) and the dominant language (here North American English).*
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Nafá Waasaf, María Lourdes. "Intonation and the structural organisation of texts in simultaneous interpreting." Interpreting. International Journal of Research and Practice in Interpreting 9, no. 2 (November 13, 2007): 177–98. http://dx.doi.org/10.1075/intp.9.2.03naf.
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This paper investigates the way intonation can contribute to the organisation of source texts (ST) and target texts (TT) in simultaneous interpreting (SI). The research method and results offer a broader perspective on the use of intonation in SI, a parameter often viewed in the literature as anomalous and genre-specific. The empirical analysis focuses on the structural organisation of ST and TT into phonological paragraphs, a process which is achieved, in part, through intonational choices both of the speakers and of the interpreters. A corpus-based study of fifteen ST and the corresponding TT produced in the European Parliament and European Commission was conducted using an acoustic methodology with discoursal support. The results indicate that both speakers and interpreters comply with the intonational pattern described in the literature, i.e. high pitch at initial paragraph boundaries and low pitch at final boundaries. These findings should be relevant for future research on intonation in the field of interpreting, intonation being a factor that seems to affect both the interpreter’s perception of the ST and, ultimately, the listeners’ reception of the TT.
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Konopkina, E. S., and L. S. Shkurat. "DIFFICULTIES OF FOREIGNERS IN INTONATION OF STATEMENTS IN RUSSIAN AND POSSIBLE WAYS TO OVERCOME THEM (THE INITIAL STAGE OF TRAINING)." Review of Omsk State Pedagogical University. Humanitarian research, no. 36 (2022): 177–81. http://dx.doi.org/10.36809/2309-9380-2022-36-177-181.
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The article is devoted to the problem of teaching foreign students the intonational aspect of Russian speech. The main types of intonation disorders in the speech of foreign students are indicated. Based on the experience of the authors of the article on teaching the intonation of foreigners from different countries of the world, a system of exercises is proposed that allows minimizing their difficulties in the intonation design of an utterance in Russian. The results of the study can be used to create practical phonetics courses for foreign students studying Russian.
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KOLEVA-KOSTOVA, KRASILINA. "RHYTHMIC-INTONATIONAL PATTERNS OF SUBORDINATE CLAUSES ATTACHED TO COPULAR MAIN CLAUSES." Journal of Bulgarian Language 69, PR (June 29, 2022): 218–29. http://dx.doi.org/10.47810/bl.69.22.pr.14.
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The paper presents the results of parallel observations on the structurography and the rhythmic-intonational patterns of subordinate clauses attached to copular main clauses in the Bulgarian language. It focuses on complex sentences, whose intonation contours are almost unexplored. One exception is the study of the intonation in com-plex sentences with a subordinate subject clause by Vladislav Marinov. The aim of this paper is to describe the structure of complex-compound sentences by examining a selection from a small corpus of sentences with copular main clauses. Using acoustic analysis programmes, I observe the intonation curves of these sentences and attempt at identifying intonational patterns associated with the variations of the basic sentence model NP cop NP in which the left and/or the right-hand noun group is substituted by a main or a subordinate clause (S): S1 cop S2, NP cop S, S cop NP. The main goal is to identify the characteristic features of the intonational connectivity within the complex-compound sentence and to study whether predicatives and their constituents are associated with particular intonational patterns. The object of study is predicative connectivity in complex-compound sentences and its reflection in their intonation contours. In particular, I observe subordinate clauses attached to copular main clauses, traditionally divided into subject clauses and subject complement clauses. An important prerequisite for this work is a previous pilot study on a corpus of complex-compound sentences, which has shown that subject complement clauses are characterised by extremely low frequency. Keywords: rhythmic-intonational patterns, subordinate clauses attached to copular main clauses, complex sentences
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Lucente, Luciana. "Dynamic model of speech." Journal of Speech Sciences 3, no. 2 (February 5, 2021): 21–62. http://dx.doi.org/10.20396/joss.v3i2.15045.
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This article explores the relationship between intonational patterns and its relationship with speech rhythm and discourse, according to the dynamic systems research program. The study of these relationships were based on Barbosa’s (2006) Dynamic Model of Speech Rhythm; on Dato intonational annotation system proposed by Lucente (2008); and on the Computational Model of the Structure of Discourse, proposed by Grosz & Sidner (1986). The Dynamic Model of Rhythm suggests that the speech rhythm is the result of the action of two oscillators – accentual and syllabic - which receive as input linguistic and gestural information, and give the output as gestural duration. This article hypothesis is that in addition to these oscillators, a glottal oscillator can act controlling the intonation patterns of speech. These patterns, or intonational cycles, which organize the BP intonation, emerge when related to the spontaneous discourse segmentation. For each discourse segment classified as spontaneous according to a criteria proposed in this article, the speech is segmented into the DaTo system in linguistically structured units, which contains the purposes of communication and attention. Each of these segments is aligned to the speech intonation pattern delimitated by a rising contour (LH or> HL) at the beginning and by a falling contour (LHL), or a boundary level (L), at the end. The speech rhythm is also aligned to the pattern formed between intonation and discourse. By the inclusion of a new layer for the stress groups segmentation into DaTo system was possible to observe that the alignment between the stress groups segmentation and the intonational annotation coincide with discourse segments boundaries. The alignment between intonation, rhythm and discourse, having the stress groups as attractors, allowed us to propose the insertion of a glottal oscillator into the Dynamic Model of Rhythm.
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Gutiérrez Díez, Francisco. "Intonation focus in the interlanguage of a group of Spanish learners of English." Revista Alicantina de Estudios Ingleses, no. 18 (November 15, 2005): 129. http://dx.doi.org/10.14198/raei.2005.18.06.
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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.
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Sorianello, Patrizia. "THE INTONATION OF RHETORICAL QUESTIONS IN ITALIAN." Italiano LinguaDue 15, no. 2 (December 15, 2023): 90–101. http://dx.doi.org/10.54103/2037-3597/22018.
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This research focuses on the intonation of rhetorical questions (RQs) in Italian. RQs are non-prototypical questions characterised by specific pragmatic features such as indirect and obvious meaning and the absence of an informative answer. The basic idea is that prosody, in its various verbal and paraverbal components, provides listeners with cues of illocutionary interpretation of RQs, facilitating their recognition in spontaneous speech. Although in the past the presence of a final falling intonation contour was assumed as a categorical feature of RQs, recent studies showed a more heterogeneous situation which did not exclude the possibility of rising intonation contours. Most of these studies were conducted on elicited speech samples (DCT or Role Play) by directly comparing string-identical information-seeking questions with rhetorical questions. The results obtained in several languages show that the differences between the two question types are never clear-cut and do not equally involve the same prosodic parameters (intonation contour, pitch range, duration). This highlights the presence of language-specific components. However, it is possible that the final results might have been influenced by both the mode of acquisition of the speech samples (which were almost always collected in a controlled environment), and by a certain neutralisation of discursive functions. The present research analyses a corpus of 100 spontaneous oral wh-RQs extracted from radio broadcasts. The study presents a phonological analysis of the intonation of RQs, looking at nuclear pitch accents and boundary tones. The results are then compared with those previously obtained for the same geographical area.
L’intonazione delle domande retoriche in italiano
Questa ricerca si concentra sull’intonazione delle domande retoriche (RQ) in italiano. Si tratta di domande non prototipiche caratterizzate da specifiche caratteristiche pragmatiche, tra cui la presenza di un significato indiretto e ovvio e l’assenza di una risposta informativa. L’idea di base è che la prosodia, nelle sue varie componenti verbali e paraverbali, fornisca agli ascoltatori degli indizi di interpretazione illocutiva delle RQ, facilitandone il riconoscimento nel parlato spontaneo. Sebbene in passato la presenza di un contorno intonativo discendente finale sia stata assunto come una caratteristica categorica delle RQ, studi recenti hanno mostrato una situazione più eterogenea che non esclude la possibilità di contorni intonativi ascendenti. La maggior parte di questi studi è stata condotta su campioni di parlato elicitato (DCT o Role Play), confrontando direttamente coppie frasali identiche formate da domande sincere e domande retoriche. I risultati ottenuti in diverse lingue mostrano che le differenze tra i due tipi di domanda non sono mai nette e non coinvolgono in egual misura i medesimi parametri prosodici (contorno intonativo, pitch range e durata), evidenziando la presenza di componenti linguo-specifiche. Tuttavia, è possibile che i risultati finali siano stati influenzati dalla modalità di acquisizione dei campioni di parlato (quasi sempre raccolti in un ambiente controllato) e da una certa neutralizzazione delle funzioni discorsive. La presente ricerca analizza un corpus di parlato spontaneo formato da 100 domande retoriche con struttura wh- estratte da trasmissioni radiofoniche. Lo studio fornisce un’analisi fonologica dell’intonazione delle domande, focalizzandosi sugli accenti intonativi nucleari e sui toni di confine. I risultati sono stati successivamente comparati con quelli precedentemente ottenuti per la stessa area geografica.
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KURUMADA, CHIGUSA, and EVE V. CLARK. "Pragmatic inferences in context: learning to interpret contrastive prosody." Journal of Child Language 44, no. 4 (May 26, 2016): 850–80. http://dx.doi.org/10.1017/s0305000916000246.
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AbstractCan preschoolers make pragmatic inferences based on the intonation of an utterance? Previous work has found that young children appear to ignore intonational meanings and come to understand contrastive intonation contours only after age six. We show that four-year-olds succeed in interpreting an English utterance, such as “It LOOKS like a zebra”, to derive a conversational implicature, namely [but it isn't one], as long as they can access a semantically stronger alternative, in this case “It's a zebra”. We propose that children arrive at the implicature by comparing such contextually provided alternatives. Contextually leveraged inferences generalize across speakers and contexts, and thus drive the acquisition of intonational meanings. Our findings show that four-year-olds and adults are able to bootstrap their interpretation of the contrast-marking intonation by taking into account alternative utterances produced in the same context.
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Wu, Guobin, and Wei Chen. "Construction and Application of a Piano Playing Pitch Recognition Model Based on Neural Network." Computational Intelligence and Neuroscience 2022 (September 17, 2022): 1–11. http://dx.doi.org/10.1155/2022/8431982.
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The intonation recognition of piano scores is an important problem in the field of music information retrieval. Based on the neural network theory, this study constructs a piano playing intonation recognition model and uses the optimized result as the feature of piano music to realize the prediction of the music recognition of the intonation preference. The model combines the behavioral preference relationship between intonation and musical notation to measure the similarity between intonations, which is used to calculate the similarity between intonation preference and music, and solves the quantification problem of intonation recognition. In the simulation process, the pitch preference feature of piano playing is used as the identification basis, and the effectiveness of the algorithm is verified through four sets of experiments. The experimental results show that the average symbol error rate of the improved network model is reduced to 0.3234%, and the model training time is about 33.3% of the traditional convolutional recurrent neural network, which is optimized in terms of recognition accuracy and training time in single-class pitch feature. In the recommended method of multi-category evaluation of pitch features, the recognition accuracy of multi-category pitch features is 42.89%, which effectively improves the musical tone recognition rate.
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Frota, Sónia, Marisa Cruz, Rita Cardoso, Isabel Guimarães, Joaquim Ferreira, Serge Pinto, and Marina Vigário. "(Dys)Prosody in Parkinson’s Disease: Effects of Medication and Disease Duration on Intonation and Prosodic Phrasing." Brain Sciences 11, no. 8 (August 20, 2021): 1100. http://dx.doi.org/10.3390/brainsci11081100.
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The phonology of prosody has received little attention in studies of motor speech disorders. The present study investigates the phonology of intonation (nuclear contours) and speech chunking (prosodic phrasing) in Parkinson’s disease (PD) as a function of medication intake and duration of the disease. Following methods of the prosodic and intonational phonology frameworks, we examined the ability of 30 PD patients to use intonation categories and prosodic phrasing structures in ways similar to 20 healthy controls to convey similar meanings. Speech data from PD patients were collected before and after a dopaminomimetic drug intake and were phonologically analyzed in relation to nuclear contours and intonational phrasing. Besides medication, disease duration and the presence of motor fluctuations were also factors included in the analyses. Overall, PD patients showed a decreased ability to use nuclear contours and prosodic phrasing. Medication improved intonation regardless of disease duration but did not help with dysprosodic phrasing. In turn, disease duration and motor fluctuations affected phrasing patterns but had no impact on intonation. Our study demonstrated that the phonology of prosody is impaired in PD, and prosodic categories and structures may be differently affected, with implications for the understanding of PD neurophysiology and therapy.
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O'Rourke, Erin. "Phonetics and phonology of Cuzco Quechua declarative intonation: An instrumental analysis." Journal of the International Phonetic Association 39, no. 3 (November 12, 2009): 291–312. http://dx.doi.org/10.1017/s0025100309990144.
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This paper offers an analysis of Cuzco Quechua intonation using experimental techniques to examine one of the acoustic cues of pitch, the fundamental frequency or F0. While previous descriptions in the literature are based on auditory impression, in the present study recordings were made of read declaratives produced by native Quechua speakers in Cuzco, Peru. This paper provides an initial characterization of high and low tones with respect to the stressed syllable, as well as information regarding the height and alignment of these tones. In addition, the intonational marking of intermediate phrases within an utterance is discussed. Research on Quechua intonation can be used to begin to address several issues regarding the intonation of languages in contact, as well as to provide data for a future cross-linguistic analysis of indigenous language intonation features.
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Heston, Tyler M. "The evolution of word prosody in the Papuan languages of Eastern Timor." Diachronica 35, no. 4 (December 31, 2018): 525–51. http://dx.doi.org/10.1075/dia.17019.hes.
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Abstract Word prosody and sentence-level intonation undergo complex interactions through time. In this study, I focus on the effects of intonation on the development of word prosody in two closely related Papuan languages, Makalero and Fataluku. Though both are very similar segmentally, Makalero’s prosodic system is based on trochaic stress, while Fataluku is characterized primarily by phrase-level intonational contours. On the basis of internal comparative evidence, I demonstrate that the trochaic stress system of Makalero is older, and that a series of well-motivated sound changes has led to a dissociation of stress and intonation in Fataluku. A disassociation between stress and intonation is typologically unexpected, and analysis of the historical development of Fataluku’s system sheds light on how such a dissociation may have taken place.
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Kryvytska, Tetіana, and Svitlana Panasyuk. "“A song without words” op. 9 no. 3 by Yakiv Stepovyi: features of intonation development and interpretation." Pedagogìčnij časopis Volinì 1(16), no. 2020 (2020): 26–32. http://dx.doi.org/10.29038/2415-8143-2020-01-26-32.
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Purpose of Article. The purpose of the work is to reveal the intonation and interpretive features of “Songs Without Words” op. 9 No. 3 by Yakiv Stepovyi. Methodology. The methodology of the research is based on the complex application operations of genre, stylistic, intonation and interpretive analysis. Scientific Novelty. The scientific novelty of the research is to determine the genre-style genesis of the little-known the composition, but indicative for the composerʼs style. Author describes his characteristic intonation features and properties. He pays attention to the performing technique. Conclusions. The author of the study proved that “A Song Without Words” op. 9 No. 3 by Yakiv Stepovyi continues the traditions of F. Mendelssohn-Bartholdy, M. Lysenko, A. Lyadov, O. Scriabin, F. Chopin. This piece is full of Ukrainian song and romance intonations. It contains allusions to the works of F. List and F. Chopin. Author introduces the intonations of lira music, folk group singing, baroque music. The composer revealed these properties of the artistic image with the help of gamma, figuration and chord technique of pianism.
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Dobrinina, A. A. "Intonation of the dictum questions with the interrogative word kem in the Altai language." Languages and Folklore of Indigenous Peoples of Siberia, no. 44 (2022): 78–84. http://dx.doi.org/10.25205/2312-6337-2022-2-78-84.
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This paper presents the experimental phonetic analysis of the Altai language intonation in terms of a communicative focus of the utterance. The interrogative intonation implementation was studied in sounding texts recorded from six informants, all representatives of the Altai-Kizhi dialect. In Altai, as in other Turkic languages, interrogative utterances are mainly expressed in lexical-grammatical and intonational ways. The first involves using interrogative pronouns such as kem “who,” ne “what,” kandyy “what, which,” kancha “how much,” and others, and the interrogative particle ba. The phonetic analysis revealed a wide intonational variability of dictum interrogative utterances with the interrogative pronoun kem. The intonation was found to depend on the interrogative word position. With kem at the beginning, the utterance has an even tone or is marked by an ascending-descending change in the frequency of the basic tone. With kem in the end, the ascending movement of the tone is observed, suggesting the utterance incompleteness and the expectation of the listener’s response. With kem in the middle position, a descending tone is observed, the intonational contour being wavelike: ascending-descending-ascending-descending. Overall, the intonational contour of questions with the word kem can be characterized as descending-rising, but with kem at the very end, the tone is ascending, the frequency difference of the basic tone in all the examples ranging from 5 to 7 pt. The next step will be to specify the trends identified by expanding the research corpus and describing the general pattern of intonation of dictum questions in statements with different interrogative words.
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Galligan, Roslyn. "Intonation with single words: purposive and grammatical use." Journal of Child Language 14, no. 1 (February 1987): 1–21. http://dx.doi.org/10.1017/s0305000900012708.
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ABSTRACTThe study examined the transition to purposive use of intonation with single words for two children. Contrary to Bloom's (1973) claim of no systematic use of intonation in the one-word period, purposive use of rising tones was demonstrated in the context of indicating interest and naming objects. One child, by 1;3, clearly used rising tones to ask ‘legitimate’ questions in which the content of the replies mattered. If an informative response was not given he repeated his question accentuating the rising tone. The other child also sought informative replies, although this could only be established at 1;6. In addition, by 1;5 both children demonstrated widespread grammatical use of intonation in which a word was combined with distinct intonations to indicate a meaning distinction equivalent to one made by the grammar of the language. There were, however, earlier developments that presaged the way, so that the transition to grammatical use of intonation was gradual.
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Hualde, José Ignacio, and Armin Schwegler. "Intonation in Palenquero." Journal of Pidgin and Creole Languages 23, no. 1 (April 18, 2008): 1–31. http://dx.doi.org/10.1075/jpcl.23.1.02hua.
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The least understood aspect of Palenquero phonology is its intonational system. This is a serious gap, as it is precisely in the realm of prosody that the most striking phonological differences between Palenquero and (Caribbean) Spanish are apparent. Although several authors have speculated that African influence may be at the source of Palenquero’s peculiar intonation, to date published research offers no detailed information about the intonation of the creole. The goal of this study is to remedy this situation. Here we identify several specific intonational features where conservative (or older-generation) Palenquero differs from (Caribbean) Spanish. One of these features is a strong tendency to use invariant word-level contours, with a H tone on the stressed syllable and L tones on unstressed syllables, in all sentential contexts, including prenuclear positions. A second feature that we have identified is the use of a sustained phrase-final high or mid level contour in declaratives accented on the final syllable, and a long fall in declaratives accented on the penult. The final section addresses the issue of the possible origin of these intonational features. We point out similarities with Equatorial Guinea Spanish and conclude that, at some point in the history of Palenquero, the Spanish prosodic system was interpreted as involving lexical tone, in conformity with claims in the literature regarding several Atlantic creoles.
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Berez-Kroeker, Andrea L. "Prosody as a genre-distinguishing feature in Ahtna." Functions of Language 18, no. 2 (October 12, 2011): 210–36. http://dx.doi.org/10.1075/fol.18.2.03ber.
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This article is a quantitative examination of the function of prosody in distinguishing between the genres of oral performance and expository discourse in Ahtna, an Athabascan language of south-central Alaska. Within the framework of the intonation unit (e.g., Chafe 1987) I examine features of prosody related to both timing (intonation unit length and duration, pause duration and distribution, and syllable pacing) and pitch (pitch reset, boundary tones, and intonational phrasing). I show to a statistically significant degree that most of the prosodic burden of distinguishing genre is carried by a particular intonation contour that is associated with Ahtna oral performance and causes several measurable distinctions between genres.
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Thamrin, Husni, and Retty Isnendes. "SUNDANESE DIALECT IN SINAR RESMI TRADITIONAL VILLAGE IN CISOLOK DISTRICT, SUKABUMI REGENCY: PHONOLOGICAL PERSPECTIVE." Jurnal Pendidikan Bahasa dan Sastra 20, no. 1 (June 30, 2020): 1–15. http://dx.doi.org/10.17509/bs_jpbsp.v20i1.25965.
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The main purpose of this study is to find out the similarities and differences in the form of speaking dialect intonation of Sirna Resmi tradisional society of Sukabumi Regency which is spoken by parents and young people. This study is conducted qualitatively with identification and classification in the form of Sundanese intonation of conversation dialect. Participants are two people with the age level of young (36 years old) and parents (69 years old). Data is collected by interview and record notes. Analysis of conversational dialect data is based on phonological theory of intonance referred to Katamba (1996). The first data is found with a number of intonations of conversational dialects from young people (36 years old) totaling 30 conversation sentences. From the data found three types of categories, namely; First intonation of downdrift tones is found in 2 types. Second, the tone of the downstep is found in 10 types. Third, the tone upstep is found in 18 types. In the second data, it was found that conversational dialect sentences of parents (69 years) amounted to 30 sentences of parents as elders in the Sinar Resmi village indigenous people. From the data that found three types of categories, namely; 1) Intonation of downdrift tones found 10 types. 2) Intonation of downstep tone found 11 types. 3) Intonation of upstep tones found 9 types.
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Dehé, Nicole. "The intonation of the Icelandic other-initiated repair expressions Ha ‘Huh’ and Hvað segirðu/Hvað sagðirðu ‘What do/did you say’." Nordic Journal of Linguistics 38, no. 2 (September 18, 2015): 189–219. http://dx.doi.org/10.1017/s0332586515000153.
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It has been shown in the literature that cross-linguistically, the other-initiated repair element ‘huh’ is typically realised with rising intonation. Icelandic has exceptional status in this respect in that it has falling intonation with Ha [haː] ‘huh’. The literature claims that it is language-specific interrogative prosody that accounts for this exceptional status of Icelandic. More specifically, it argues that falling intonation is the default for questions in Icelandic and that the other-initiated repair interjection shares its intonational features with interrogatives. The aim of this paper is twofold. First, using map-task data, it confirms previous results for the intonation of Icelandic Ha, and in addition shows that its more complex relative Hvað segirðu/Hvað sagðirðu ‘What do/did you say?’ is realised with falling intonation as well. Both expressions are realised with an H* pitch accent followed by downward pitch movement to L%. Secondly, the paper argues, for a number of reasons, against the assumption that question prosody is enough to account for the Icelandic pattern, and it suggests instead that Ha and Hvað segirðu/Hvað sagðirðu are in fact not specifically marked in intonation, but are realised with a combination of pitch accent and boundary tone found across utterance types in Icelandic.
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B. Wilbur, Ronnie. "Prosody in Sign Languages." Hrvatska revija za rehabilitacijska istraživanja 58, Special Issue (October 12, 2022): 143–74. http://dx.doi.org/10.31299/hrri.58.si.8.
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This chapter addresses the debate concerning the status of nonmanuals (head, face, body) as prosodic or not by exploring in detail how prosody is structured in speech and what might be parallels and differences in sign. Prosody is divided into two parts, rhythmic phrasing (timing, syllables, stress), and intonation. To maximize accessibility, in each part, an introduction to what is known for speech is presented, followed by what is known and/or claimed for sign languages. With the exception of the internal structure of syllables, sign languages are very similar to spoken languages in the rhythmic domain. In the intonational domain, the parallels are less strong, in part because analogies of nonmanual functions to spoken intonation tend to be based on older/simpler models of intonation. There needs to be much more detailed research on sign languages to catch up with the recent research on spoken intonation.
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Al-Jarf, Reima. "Ambiguity in Arabic Negative Polar Questions." Journal of Pragmatics and Discourse Analysis 2, no. 1 (May 17, 2023): 47–58. http://dx.doi.org/10.32996/jpda.2023.2.1.6.
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Negative yes-no (polar) questions in Colloquial Arabic (CA) are formed by intonation without adding yes-no question particles, in which case, a statement is uttered with a rising intonation, whether this polar question is negative or affirmative. This case is more common in CA than written MSA. Sometimes, the same negative polar question is uttered with different intonations, giving different meanings. This article investigates the multiple meanings of negative polar questions in Hijazi Arabic (HA), the kinds of ambiguities resulting from using different rising intonations, and how negative polar questions are answered. A sample of negative polar questions in HA was collected. Each was uttered with different rising intonations by a sample of students enrolled in a Semantics and Pragmatics course at the College of Languages and Translation and recordings of those were made. The student informants were asked about the meaning conveyed by each intonation of the same negative polar question. Results showed that ما شريت فستان الأسبوع الماضي؟ Didn't you buy a dress last week?” is a negative polar question formed with a change in intonations. It is ambiguous and may render the following meanings: (i) a neutral question about whether she bought the dress or not, replying with the truth-value of the situation, or is replying to the polarity used in the question. The answer would be either "Yes" or "no", or an echo answer: "Yes I bought it" or "No I didn't buy it"; (ii) a confirmation question to which the reply is "yes" only; (iii) a confirmation question to which the reply is "no" only; (iv) disapproval: "Didn't you buy a dress last week? Why do you want to by another dress? (v) an exclamation: Wow! You have bought a new dress, although you bought one last week! What a surprise! The context makes it clear which meaning each intonation implies. Detailed results of the interpretation of a sample of ambiguous spoken negative polar questions are reported.
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Koleva-Kostova, Krasilina, and Hristiana Krasteva. "Stress and Intonation in Simple Sentences." Journal of Bulgarian Language 71, PRIL (March 30, 2024): 418–27. http://dx.doi.org/10.47810/bl.71.24.pr.27.
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The research deals with the intonational characteristics and the stress in simple sentences taken from Bulgarian classic literature. By using software for acoustic analysis, we observe the intonational contours of simple sentences, aiming at characterizing the specific intonational features of the verb and its outer complement. We also observe the intonational features of the predicate in cases of different word order (SVO, SOV, VSO, etc.) The main goal is to summarize the data on stress and intonation of simple sentences from our corpus and to represent it as models of the prosody of simple predicates in Bulgarian.
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Wennerstrom, Ann. "INTONATION AS COHESION IN ACADEMIC DISCOURSE." Studies in Second Language Acquisition 20, no. 1 (March 1998): 1–25. http://dx.doi.org/10.1017/s0272263198001016.
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This paper reports the results of a study of the intonation of 18 Mandarin Chinese speakers lecturing in English. As a basis for the study, it is proposed that intonation be considered a grammar of cohesion in English discourse: Drawing from the intonational model of Pierrehumbert and Hirschberg (1990), it is argued that discrete morphemes of intonation correspond to the categories of cohesion in Halliday and Hasan's (1976) typology. The study investigated the hypothesis that the nonnative speakers who were able to use the intonation system of English most effectively would score higher on a global language test. Using a Computerized Speech Lab to measure pitch, four aspects of intonation were averaged for each speaker: (a) the pitch difference between newly introduced content words and function words, (b) the use of high pitch at phrase boundaries to link related constituents, (c) the use of pitch to distinguish contrasting items from given items, and (d) the paratone or increase in pitch range at rhetorical junctures to signal topic shift. These four measures were chosen for their contribution to the cohesion of the lectures. Multiple regression analysis indicates that the fourth intonation variable, the paratone, was a significant predictor of these subjects' English test scores. Examples are given of the other variables in context from both low- and high-scoring speakers. It is emphasized that intonation is not only a stylistic component of accent but also a meaning-bearing grammatical system.
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Fazyudi Ahmad Nadzri, Ridwan Wahid, and Zahariah Pilus. "The rise tone in the English and Malay intonations of Malay learners of English." Asiatic: IIUM Journal of English Language and Literature 16, no. 2 (December 26, 2022): 56–71. http://dx.doi.org/10.31436/asiatic.v16i2.2648.
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English is a widely spoken language around the world and its intonation may vary significantly across its varieties. Miscommunication is possible given that intonation may function differently in different varieties. Given this context, this study sets out to describe functions of the rise tone in the English and Malay intonations of Malay learners, and to determine the influence of their L1 on the use of the rise tone in Malaysian English. Sixty ESL learners were asked to narrate a short story individually according to a series of pictures presented to them. Eight of them were also asked to narrate their stories in Malay. Their narrations were analysed acoustically using Praat and the tone functions were identified using Brazil’s Discourse Intonation model. Findings show that the learners used the rise tone in both languages mainly to: (i) convey new and shared information, (ii) continue speaking, and (iii) present items in a list. Findings may contribute details to Malaysian English phonology and shed some light on intonation usage among Malaysian English speakers.
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Yang, Tzu-Hsuan, and Annie C. Tremblay. "Perception of English lexical stress in different intonational contexts by Mandarin listeners." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A264. http://dx.doi.org/10.1121/10.0016218.
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The present study seeks to elucidate the nature of first language transfer effects on the perception of English lexical stress in different intonational contexts. Pitch (F0) is one of the acoustic cues to lexical stress in English, but crucially, pitch can only serve as a cue to stress when interpreted within the intonation system of English. In contrast, Mandarin is a tonal language where pitch carries greater functional weight for signaling lexical contrasts. Associating pitch to lexical contrasts, Mandarin listeners might therefore assume a one-to-one relationship between pitch and lexical stress in English. To examine whether Mandarin learners of English make this assumption, the current study tested their stress perception in four different intonations: H*L-L%, L*H-H%, H*H-H%, and L*L-L%, where F0 cues to stress were realized differently in each intonation. The results of the stress identification task showed that Mandarin listeners falsely associated higher F0 with stress and lower F0 with the absence of it, and their performance did not improve as they became increasingly proficient in English. The findings provide corroborating evidence for the Cue-Weighting Transfer Hypothesis by showing that the use of a suprasegmental cue can transfer from one phonological category (tones) to another (stress).
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Yuan, Chenjie, Santiago González-Fuente, Florence Baills, and Pilar Prieto. "OBSERVING PITCH GESTURES FAVORS THE LEARNING OF SPANISH INTONATION BY MANDARIN SPEAKERS." Studies in Second Language Acquisition 41, no. 1 (January 2, 2018): 5–32. http://dx.doi.org/10.1017/s0272263117000316.
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AbstractRecent studies on the learning of L2 prosody have suggested that pitch gestures can enhance the learning of the L2 lexical tones. Yet it remains unclear whether the use of these gestures can aid the learning of L2 intonation, especially by tonal-language speakers. Sixty-four Mandarin speakers with basic-level Spanish were asked to learn three Spanish intonation patterns, all involving a low tone on the nuclear accent. In a pre-post test experimental design, half of the participants received intonation training without the use of pitch gestures (the control group) while the other half received the same training but with pitch gestures representing nuclear intonation contours (the experimental group). Musical (melody, pitch) abilities were also measured. The results revealed that (a) the experimental group significantly improved intonational production outcomes, and (b) even though participants with stronger musical abilities performed better, those with weaker musical abilities benefited more from observing pitch gestures.
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Al-Riyahi, Dr Alaa Abdul-Imam. "Greetings in Iraqi Arabic: An Auditory Study." Tasnim International Journal for Human, Social and Legal Sciences 1, no. 1 (June 30, 2022): 220–40. http://dx.doi.org/10.56924/tasnim.2.2022/11.
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Iraqi Arabic includes the use of different types of politeness, such as greetings. Greetings are essential parts of everyday interaction. These polite sayings are produced on different intonational patterns. The speech of 48 Iraqi Arabic speakers is recorded to examine the intonational patterns of greetings. The participants are divided into three groups: educated, partly educated and uneducated participants. Each group includes eight men and eight women. The intonational system of Halliday and Greaves (2008) is adopted to describe the intonational patterns used. study concludes that greetings in Iraqi Arabic are formal or informal depending on the relationship between the speaker and addressee in addition to the context of the situation. In respect to intonation, men use falling tones more than women do on formal and informal greetings. The study requires a modification of Halliday and Greaves’ system of intonation (2008) by adding new symbols to account for the intonational patterns observed in Iraqi Arabic.
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Pešková, Andrea. "In the Echoes of Guarani: Exploring the Intonation of Statements in Paraguayan Spanish." Languages 9, no. 1 (December 25, 2023): 12. http://dx.doi.org/10.3390/languages9010012.
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This explorative study examines intonation contours in neutral and non-neutral statements of Paraguayan Spanish, a variety shaped by extensive contact with Guarani, a co-official language of Paraguay. Paraguayan Spanish displays both lexical and syntactic borrowings from Guarani, along with innovative intonation patterns not found in other Spanish varieties. Previous but still limited research on yes/no and wh-questions in this variety suggests the emergence of a unique intonational system, possibly of a hybrid nature, in both Spanish monolinguals and Spanish–Guarani bilinguals. To date, no comprehensive description of intonation patterns in Paraguayan Spanish statements exists. The present study addresses this gap by analyzing data obtained through a Discourse Completion Task, covering broad-focus statements, contrastive focus, exclamatives, and statements of the obvious. Data were collected in 2014 from two monolingual speakers, eleven bilingual Spanish-dominant speakers, and eight bilingual Guarani-dominant speakers. The intonation is formalized using the Autosegmental–Metrical model of intonational phonology and the Spanish Tones and Break Indices labeling system. The findings reveal three main realizations of nuclear accents (L+H*, H+L*, and innovative >H+L*) in neutral and non-neutral declarative sentences, lengthening of syllables, diverse syntactical strategies, and lexical borrowings. The study contributes to the understanding of a lesser-studied Spanish variety and offers insights into theoretical aspects of contact linguistics.
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Wang, Ying. "An Analysis of Prosodic Features of Chinese EFL Majors’ English Questions." International Journal of Linguistics, Literature and Translation 5, no. 3 (March 8, 2022): 93–101. http://dx.doi.org/10.32996/ijllt.2022.5.3.12.
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Drawing on the Auto-segmental Metrical theory in intonational phonology, this paper reveals the phonological structure of English interrogatives between Chinese EFL majors and native speakers from a syntactic pragmatic perspective, based on reading documents of eight English majors with Praat being its research tool. Findings show that the prosodic characteristics of interrogatives of English majors are obviously different from those of native speakers, which are mainly reflected in the segmentation of tone groups, boundary tone, intonation nucleus, and stress distribution. It purports to help English majors clarify the important pragmatic functions of intonation in information transmission and interpersonal communication, and foster strengths and circumvent weaknesses so as to better develop "Chinglish pronunciation" with Chinese characteristics; meanwhile, to bring enlightenment to English intonation teaching.
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Chaker, S. "Intonation." Encyclopédie berbère, no. 24 (October 1, 2001): 3765–67. http://dx.doi.org/10.4000/encyclopedieberbere.1580.
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Deterding, David, and Alan Cruttenden. "Intonation." Language 75, no. 3 (September 1999): 623. http://dx.doi.org/10.2307/417096.
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Botinis, A. "Intonation." Speech Communication 33, no. 4 (March 2001): 261–62. http://dx.doi.org/10.1016/s0167-6393(00)00059-5.
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Downing, Laura J. "Focus and prominence in Chichewa, Chitumbuka and Durban Zulu." ZAS Papers in Linguistics 49 (January 1, 2008): 47–65. http://dx.doi.org/10.21248/zaspil.49.2008.363.
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Much work on the interaction of prosody and focus assumes that, crosslinguistically, there is a necessary correlation between the position of main sentence stress (or accent) and focus, and that an intonational pitch change on the focused element is a primary correlate of focus. In this paper, I discuss primary data from three Bantu languages – Chichewa, Durban Zulu and Chitumbuka – and show that in all three languages phonological re-phrasing, not stress, is the main prosodic correlate of focus and that lengthening, not pitch movement, is the main prosodic correlate of phrasing. This result is of interest for the typology of intonation in illustrating languages where intonation has limited use and where, notably, intonation does not highlight focused information in the way we might expect from European stress languages.