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Journal articles on the topic 'Metrical patterns'
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1
White, Christopher. "Relationships Between Tonal Stability and Metrical Accent in Monophonic Contexts." Empirical Musicology Review 12, no. 1-2 (September 26, 2017): 19. http://dx.doi.org/10.18061/emr.v12i1-2.5833.
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Recent corpus analyses have provided evidence for interactions between tonal and metric hierarchies by illustrating that tonally stable pitches occur disproportionately often on strong metrical positions while tonally unstable pitches occur more frequently on weaker metrical positions. This study begins to investigate whether this observed property is salient to listeners' identification of metrical accents: by presenting participants with tonally-determined but metrically ambiguous beat patterns, we ask how tonal hierarchies might influence listeners' interpretation of these metrical-accent patterns (as measured via a tapping task). In Experiment 1, participants heard patterns alternating tonally stable and unstable pitches, and it was found that tonal stability did not affect metric interpretations. In Experiments 2 and 3, listeners heard an atonal artificial hierarchy prefaced by an exposure session using music generated by this artificial hierarchy; exposure did not influence the subsequent tapping task. Flipping the paradigm, in Experiment 4, participants heard a metrically defined but tonally-ambiguous melody, and selected the most appropriate chord. The metrical context affected participants' harmonization choices. Although a tendency to align strong beats with chord tones accounted for some of the data, further analysis shows that changing the metrical context influenced chord choices, providing evidence for a joint tonal-metric hierarchy.
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Acevedo, Stefanie, David Temperley, and Peter Q. Pfordresher. "Effects of Metrical Encoding on Melody Recognition." Music Perception 31, no. 4 (December 2012): 372–86. http://dx.doi.org/10.1525/mp.2014.31.4.372.
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We report two experiments exploring whether matched metrical and motivic structure facilitate the recognition of melodic patterns. Eight tonal melodies were composed from binary (four-note) or ternary (three-note) motivic patterns, and were each presented within a metrical context that either matched or mismatched the pattern. On each trial, participants heard patterns twice and performed a same-different task; in half the trials, one pitch in the second presentation was altered. Performance was analyzed using signal detection analyses of sensitivity and response bias. In Experiment 1, expert listeners showed greater sensitivity to pitch change when metrical context matched motivic pattern structure than when they conflicted (an effect of metrical encoding) and showed no response bias. Novice listeners, however, did not show an effect of metrical encoding, exhibiting lower sensitivity and a bias toward responding “same.” In a second experiment using only novices, each trial contained five presentations of the standard followed by one presentation of the comparison. Sensitivity to changes improved relative to Experiment 1: evidence for metrical encoding – in the form of reduced response bias when meter and motive matched – was found. Results support the metrical encoding hypothesis and suggest that the use of metrical encoding may develop with expertise.
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Weiskott, Eric. "Systematicity, a missing term in historical metrics." Language and Literature: International Journal of Stylistics 25, no. 4 (November 2016): 328–42. http://dx.doi.org/10.1177/0963947016660229.
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This essay identifies two persistent problems in the historical study of meter—nonconformant metrical patterns and metrical change—and offers a new term as a conceptual tool for understanding their interdependence. The term ‘systematic’ denotes metrical patterns that conform to synchronically operant metrical principles. The corresponding term ‘asystematic’ denotes the minority of actually occurring metrical patterns that fall outside the metrical system as such for historical reasons. All systematic patterns are necessarily metrical, but not all metrical patterns are systematic. It is argued that the systematicity/metricality distinction in historical metrics is analogous to the regularity/grammaticality distinction in historical linguistics and similarly fundamental to historical analysis. By introducing a new technical term, this essay seeks to shift the metrist’s object of study from the metrical system qua system to meter as a complex historical experience. The value of the concept of systematicity is illustrated through three case studies in asystematic metrical patterns from early English poetic traditions: verses with three metrical positions in Beowulf, lines with masculine ending in Middle English alliterative verse, and the infamous ‘broken-backed lines’ in the pentameter of John Lydgate. In each case, it is argued that the contrast between systematic and asystematic metrical patterns illuminates the diverse historical and perceptual negotiations that inevitably lie behind metered texts.
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Keller, Peter E., and Denis K. Burnham. "Musical Meter in Attention to Multipart Rhythm." Music Perception 22, no. 4 (2005): 629–61. http://dx.doi.org/10.1525/mp.2005.22.4.629.
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Performing in musical ensembles can be viewed as a dual task that requires simultaneous attention to a high priority �target� auditory pattern (e.g., a performer�s own part) and either (a) another part in the ensemble or (b) the aggregate texture that results when all parts are integrated. The current study tested the hypothesis that metric frameworks (rhythmic schemas) promote the efficient allocation of attentional resources in such multipart musical contexts. Experiment 1 employed a recognition memory paradigm to investigate the effects of attending to metrical versus nonmetrical target patterns upon the perception of aggregate patterns in which they were embedded. Experiment 2 required metrical and nonmetrical target patterns to be reproduced while memorizing different, concurrently presented metrical patterns that were also subsequently reproduced. Both experiments included conditions in which the different patterns within the multipart structure were matched or mismatched in terms of best-fitting meter. Results indicate that dual-task performance was best in matched-metrical conditions, intermediate in mismatched-metrical conditions, and worst in nonmetrical conditions. This suggests that metric frameworks may facilitate complex musical interactions by enabling efficient allocation of attentional resources.
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Kehoe, Margaret, and Carol Stoel-Gammon. "Truncation Patterns in English-Speaking Children's Word Productions." Journal of Speech, Language, and Hearing Research 40, no. 3 (June 1997): 526–41. http://dx.doi.org/10.1044/jslhr.4003.526.
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This study examines English-speaking children's truncation patterns (i.e., syllable deletion patterns) in multisyllabic words to determine if they are consistent with metrical constraints or perceptual biases. It also examines segmental influences on children's truncations. Children, age 22–34 months, produced three-syllable novel and real words and four-syllable real words, which varied across stress and segmental pattern. Results revealed a significant stress pattern effect on truncation rate, but findings were not consistent with metrical or perceptual salience predictions. The clearest account of the findings came from an analysis of truncation rate across individual words: Children truncated WSW (weak-strong-weak) words and words that contained intervocalic sonorants more frequently than other words. Analysis of truncation patterns in SWW and SWSW words revealed that final unstressed syllables were more frequently preserved than nonfinal unstressed syllables. Findings support the interaction between metrical, syllabic, and acoustic salience factors in children's multisyllabic word productions.
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Schwartz, Richard G., and Lisa Goffman. "Metrical Patterns of Words and Production Accuracy." Journal of Speech, Language, and Hearing Research 38, no. 4 (August 1995): 876–88. http://dx.doi.org/10.1044/jshr.3804.876.
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This investigation examined the influence of metrical patterns of words (syllable stress and serial position) on the production accuracy of 20 children (22 to 28 months). The data were productions of six pairs of individualized two-syllable experimental words that referred to unfamiliar objects. Members of each pair differed only in the placement of stress (e.g., ['soti] vs. [so'ti]). Unstressed syllables were much more likely to be omitted, particularly at the beginning of words. Very few stressed syllables and unstressed second position syllables were omitted. One fourth of the word initial unstressed syllables were omitted. Consonant omissions, though few in number, tended to occur in initial position. Assimilation errors were not influenced by stress or serial position. When segmental errors due to syllable omissions were excluded, other consonant errors were not affected by stress or serial position. These findings indicate that young children's productions of syllables are influenced by the metrical patterns of words. However, the trochaic pattern of English is a statistical tendency, not an absolute constraint on two-syllable words. Metrical pattern also does not affect the consonant accuracy in syllables produced.
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Temperley, David, and Christopher Bartlette. "Parallelism as a Factor in Metrical Analysis." Music Perception 20, no. 2 (2002): 117–49. http://dx.doi.org/10.1525/mp.2002.20.2.117.
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A model is proposed of the effect of parallelism on meter. It is wellknown that repeated patterns of pitch and rhythm can affect the perception of metrical structure. However, few attempts have been made either to define parallelism precisely or to characterize its effect on metrical analysis. The basic idea of the current model is that a repeated melodic pattern favors a metrical structure in which beats are placed at parallel points in each occurrence of the pattern. By this view, parallelism affects the period of the metrical structure (the distance between beats) rather than the phase (exactly where the beats occur). This model is implemented and incorporated into the metrical program of D. Temperley and D. Sleator (1999). Several examples of the model's output are presented; we examine problems with the model and discuss possible solutions.
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Paoli, Bruno. "Meters and formulas." Linguistic Approaches to Poetry 15 (December 31, 2001): 113–36. http://dx.doi.org/10.1075/bjl.15.09pao.
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This paper deals with the metrical and rhythmical foundations of the formulaic style of ancient Arabic poetry. It is first shown how proper formulas can match different verse-patterns, by means of slight modifications such as the adjunction, deletion or substitution of conjunctions, prepositions, interrogative pronouns or aspectual markers, which partly behave like “stop-gaps”, keeping the meaning unchanged while modifying the metrical pattern of the formula. The analysis is then extended to “rhythmical formulas”, i.e. to combined metrical and word-stress patterns which serve as models for a great number of “formulaic expressions”. Word boundaries may be specified, as well as some morphological and syntactical informations, so that expressions derived from a same rhythmical formula can be classified into a number of more or less abstract subcategories. Finally, the syntagmatic combination of rhythmical formulas into lines leads to the identification of a small number of prototypical verse-instances underlying the various actual instances of a same verse-pattern.
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Velleman, Shelley L., and Lawrence D. Shriberg. "Metrical Analysis of the Speech of Children With Suspected Developmental Apraxia of Speech." Journal of Speech, Language, and Hearing Research 42, no. 6 (December 1999): 1444–60. http://dx.doi.org/10.1044/jslhr.4206.1444.
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Previous studies have shown that metrical analysis accounts for syllable omissions in young normally developing children better than prior perspectives. This approach has not yet been applied to children with disorders. Inappropriate sentential stress has been proposed as a diagnostic marker for a subgroup of children with suspected developmental apraxia of speech (SD-DAS), suggesting that the application of metrical perspectives to this population may be appropriate. This report extends the goal of identifying diagnostic markers for SD-DAS using analytic procedures from metrical phonology. The lexical metrical patterns of children with SD-DAS were compared to those of a group of children with speech delay (SD) to verify the applicability of metrical constructs to children with disorders while at the same time seeking lexical stress characteristics that might be useful for differential diagnosis. The lexical stress errors of children in both the SD and SD-DAS disorder groups were found to conform to patterns identified in metrical studies of younger normally developing children, confirming the applicability of this approach to children with disorders. Lexical metrical patterns did not differentiate the groups from each other. However, syllable omissions persisted to much later ages in the SD-DAS subjects, especially those children previously identified as having inappropriate phrasal stress. Further metrical studies of the speech of children with suspected SD-DAS are needed, both at the lexical and the sentential level, using both perceptual and acoustic measures.
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Hammerschmidt, David, and Clemens Wöllner. "Sensorimotor Synchronization with Higher Metrical Levels in Music Shortens Perceived Time." Music Perception 37, no. 4 (March 11, 2020): 263–77. http://dx.doi.org/10.1525/mp.2020.37.4.263.
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The aim of the present study was to investigate if the perception of time is affected by actively attending to different metrical levels in musical rhythmic patterns. In an experiment with a repeated-measures design, musicians and nonmusicians were presented with musical rhythmic patterns played at three different tempi. They synchronized with multiple metrical levels (half notes, quarter notes, eighth notes) of these patterns using a finger-tapping paradigm and listened without tapping. After each trial, stimulus duration was judged using a verbal estimation paradigm. Results show that the metrical level participants synchronized with influenced perceived time: actively attending to a higher metrical level (half notes, longer intertap intervals) led to the shortest time estimations, hence time was experienced as passing more quickly. Listening without tapping led to the longest time estimations. The faster the tempo of the patterns, the longer the time estimation. While there were no differences between musicians and nonmusicians, those participants who tapped more consistently and accurately (as analyzed by circular statistics) estimated durations to be shorter. Thus, attending to different metrical levels in music, by deliberately directing attention and motor activity, affects time perception.
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Richards, Susan, and Usha Goswami. "Impaired Recognition of Metrical and Syntactic Boundaries in Children with Developmental Language Disorders." Brain Sciences 9, no. 2 (February 5, 2019): 33. http://dx.doi.org/10.3390/brainsci9020033.
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In oral language, syntactic structure is cued in part by phrasal metrical hierarchies of acoustic stress patterns. For example, many children’s texts use prosodic phrasing comprising tightly integrated hierarchies of metre and syntax to highlight the phonological and syntactic structure of language. Children with developmental language disorders (DLDs) are relatively insensitive to acoustic stress. Here, we disrupted the coincidence of metrical and syntactic boundaries as cued by stress patterns in children’s texts so that metrical and/or syntactic phrasing conflicted. We tested three groups of children: children with DLD, age-matched typically developing controls (AMC) and younger language-matched controls (YLC). Children with DLDs and younger, language-matched controls were poor at spotting both metrical and syntactic disruptions. The data are interpreted within a prosodic phrasing hypothesis of DLD based on impaired acoustic processing of speech rhythm.
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Creel, Sarah C. "Metrical Restoration From Local and Global Melodic Cues." Music Perception 38, no. 2 (November 25, 2020): 106–35. http://dx.doi.org/10.1525/mp.2020.38.2.106.
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What factors influence listeners’ perception of meter in a musical piece or a musical style? Many cues are available in the musical “surface,” i.e., the pattern of sounds physically present during listening. Models of meter processing focus on the musical surface. However, percepts of meter and other musical features may also be shaped by reactivation of previously heard music, consistent with exemplar accounts of memory. The current study explores a phenomenon that is here termed metrical restoration: listeners who hear melodies with ambiguous meters report meter preferences that match previous listening experiences in the lab, suggesting reactivation of those experiences. Previous studies suggested that timbre and brief rhythmic patterns may influence metrical restoration. However, variations in the magnitude of effects in different experiments suggest that other factors are at work. Experiments reported here explore variation in metrical restoration as a function of: melodic diversity in timbre and tempo, associations of rhythmic patterns with particular melodies and meters, and associations of meter with overall melodic form. Rhythmic patterns and overall melodic form, but not timbre, had strong influences. Results are discussed with respect to style-specific or culture-specific musical processing, and everyday listening experiences. Implications for models of musical memory are also addressed.
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Frog. "Mythological Names and dróttkvætt Formulae II: Base-Word-Determinant Indexing." Studia Metrica et Poetica 1, no. 2 (December 31, 2014): 39–70. http://dx.doi.org/10.12697/smp.2014.1.2.03.
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This article explores patterns of language use in oral poetry within a variety of semantic formula. Such a formula may vary its surface texture in relation to phonic demands of the metrical environment in which it is realised. This is the second part of a four-part series based on metrically entangled kennings in Old Norse dróttkvætt poetry as primary material. Old Norse kennings present a semantic formula of a particular type which is valuable as an example owing to the extremes of textural variation that it enables. The first part in this series introduced the approach to kennings as semantic formulae and included an illustrative case study on kennings meaning ‘battle’ realising the last three metrical positions of a dróttkvætt line. This demonstrated that lexical variation in realising these formulae varied according to functional equivalence across semantic categories. The present case study advances this discussion through the examination of the metrical entanglement of the lexicon in realising the semantic formula. On the one hand, it presents evidence of the associative indexing of lexical items realising a battle-kenning of this particular metric-structural type: certain kenning base-words exhibit a preferred semantic category of determinant. On the other hand, it also presents evidence of the associative indexing of lexical items that are used for realising the metrically required rhyme in a position in the line that is outside of the semantic formula: certain kenning base-words exhibit co-occurrence with a particular rhyme-word.
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Piera, Carlos. "Intonational factors in metrics." Linguistic Approaches to Poetry 15 (December 31, 2001): 205–28. http://dx.doi.org/10.1075/bjl.15.14pie.
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Current theories of meter tend to rely exclusively on stress-based properties. This paper argues that certain phenomena in Spanish metrics — some well-known, some neglected — should be accounted for in terms of intonational primitives. Any standard stress-based metrical pattern will be compatible with several Pierrehumbert-style intonational configurations, but there can also be alignment conflicts between stress and tone which cause metrical tension and/or unmetricality. As a case in point, the Spanish (hen)decasyllable, which has two possible stress patterns, discourages lines in which the intonational structure corresponds to the pattern that is not actually instantiated by them. Intonation-based treatments are also proposed for assonance and for the caesural features of the Spanish alexandrine.
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Dyck, Carrie. "Cayuga Accent: A Synchronic Analysis." Canadian Journal of Linguistics/Revue canadienne de linguistique 42, no. 3 (September 1997): 285–322. http://dx.doi.org/10.1017/s0008413100016959.
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AbstractCayuga (Northern Iroquoian) is a pitch accent language displaying different conditions for the accenting and lengthening of even-numbered and odd-numbered penults (counting from left to right). It is shown that Cayuga accent placement is predictable from metrical structure, and that metrical structure is in turn influenced by constraints on syllable structure. Syllable structure constraints are that: 1) all things being equal, coda consonants are parsed as light; and 2) vowel length is dispreferred. In odd-numbered penults, dispreferred syllable structure can be avoided, and this results in accented odd-numbered open penults and unaccented odd-numbered closed penults. In even-numbered penults, dispreferred syllable structure (especially that resulting from lengthening) is required in order to avoid metrically adjacent strong elements, and this results in the accenting of all even-numbered penults. The accenting patterns of Cayuga ultimately derive from the fact that Cayuga is a quantity-sensitive language that disprefers quantity.
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Kager, René, and Ellis Visch. "Metrical constituency and rhythmic adjustment." Phonology 5, no. 1 (May 1988): 21–71. http://dx.doi.org/10.1017/s0952675700002189.
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Over the past few years, research in metrical phonology has witnessed a shift in its main topic of investigation. Originally, attention was focused on the representation of prominence patterns of words (for example, Liberman & Prince 1977; Kiparsky 1979; Selkirk 1980; Hayes 1981), but more recently interest has arisen in several sorts of ‘rhythmic’ stress phenomena in larger domains (Prince 1983; Hayes 1984; Selkirk 1984; Hammond 1984; Giegerich 1985). One way of explaining this shift is by noting that the issue of the treatment of prominence patterns proper seems to have reached a stage where both grid-only (i.e. tree-less) theory and variants of tree-fulltheories, whether or not they employ grids as well, are capable of explaining the prominence patterns of words (see, for instance, Prince 1983; van der Hulst 1984). In this situation, investigation of rhythmic stress phenomena may offer the possibility of evaluating these theories because, as currently perceived, this area typically deals with the issue of whether metrical tree structure is needed at all, or whether grid structure by itself is capable of explaining rhythmic adjustments: on the one hand, grid-only theory claims that any constituency relevant to rhythmic adjustment is adequately encoded in the grid; on the other, tree theory holds that more detailed, or perhaps different, constituent information is required, as expressed in the metrical tree.
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Essens, Peter J., and Drik-Jan Povel. "Metrical and nonmetrical representations of temporal patterns." Perception & Psychophysics 37, no. 1 (January 1985): 1–7. http://dx.doi.org/10.3758/bf03207132.
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Mołczanow, Janina, Beata Łukaszewicz, and Anna Łukaszewicz. "Timing patterns in a hybrid metrical system." Lingua 255 (May 2021): 103066. http://dx.doi.org/10.1016/j.lingua.2021.103066.
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Kehoe, Margaret M. "Prosodic Patterns in Children’s Multisyllabic Word Productions." Language, Speech, and Hearing Services in Schools 32, no. 4 (October 2001): 284–94. http://dx.doi.org/10.1044/0161-1461(2001/025).
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This paper reviews results from a series of studies that examined the influence of metrical and segmental effects on English-speaking children’s multisyllabic word productions. Three different approaches (prosodic structure, trochaic template, and perceptual salience) that have been proposed in the literature to account for children’s prosodic patterns are presented and evaluated. An analysis of children’s truncation or syllable deletion patterns revealed the following robust findings: (a) Stressed and word-final unstressed syllables are preserved more frequently than nonfinal unstressed syllables, (b) word-internal unstressed syllables with obstruent onsets are preserved more frequently than word-internal syllables with sonorant onsets, (c) unstressed syllables with non-reduced vowels are preserved more frequently than unstressed syllables with reduced vowels, and (d) right-sided stressed syllables are preserved more frequently than left-sided stressed syllables. An analysis of children’s stress patterns revealed that children made greater numbers of stress errors in target words with irregular stress. Clinical implications of these findings are presented and additional studies that have applied a metrical approach to clinical populations are described.
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Bell, Matthew. "Danses Fantastiques." Journal of Music Theory 65, no. 1 (April 1, 2021): 107–37. http://dx.doi.org/10.1215/00222909-9124750.
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Abstract Much of Tchaikovsky's music for the ballets Sleeping Beauty and Nutcracker exhibits what Harald Krebs calls metrical dissonance: the juxtaposition or superimposition of noncoincident pulses and rhythmic patterns. This article shows how the dances of the composer's collaborators, Enrico Cecchetti, Antonietta Dell'Era, Lev Ivanov, and Marius Petipa, respond to and participate in these metrical dissonances. The first part of the article defines metrical dissonance, the processes that transform it, and the related but distinct phenomenon of metric type. The second part presents four choreomusical analyses that draw on archival dance notation and videos of present-day performances.
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Witek, Maria A. G., Eric F. Clarke, Morten L. Kringelbach, and Peter Vuust. "Effects of Polyphonic Context, Instrumentation, and Metrical Location on Syncopation in Music." Music Perception 32, no. 2 (December 1, 2014): 201–17. http://dx.doi.org/10.1525/mp.2014.32.2.201.
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In music, the rhythms of different instruments are often syncopated against each other to create tension. Existing perceptual theories of syncopation cannot adequately model such kinds of syncopation since they assume monophony. This study investigates the effects of polyphonic context, instrumentation and metrical location on the salience of syncopations. Musicians and nonmusicians were asked to tap along to rhythmic patterns of a drum kit and rate their stability; in these patterns, syncopations occurred among different numbers of streams, with different instrumentation and at different metrical locations. The results revealed that the stability of syncopations depends on all these factors and music training, in variously interacting ways. It is proposed that listeners’ experiences of syncopations are shaped by polyphonic and instrumental configuration, metrical structure, and individual music training, and a number of possible mechanisms are considered, including the rhythms’ acoustic properties, ecological associations, statistical learning, and timbral differentiation.
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Frog. "Mythological Names and dróttkvætt Formulae I: When is a Valkyrie Like a Spear?" Studia Metrica et Poetica 1, no. 1 (April 22, 2014): 100–139. http://dx.doi.org/10.12697/smp.2013.1.1.06.
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This article explores patterns of language use in oral poetry within a variety of semantic formula. Such a formula may vary its surface texture in relation to phonic demands of the metrical environment in which it is realized. Metrically entangled kennings in Old Norse dróttkvætt poetry provide material for a series of case studies focusing on variation in realizing formulae of this type. Old Norse kennings present a semantic formula of a particular type which is valuable as an example owing to the extremes of textural variation that it enables. Focus will be on variation between two broad semantic categories in expressing the formula’s consistent unit of meaning that are otherwise unambiguously distinct: proper names for mythological beings and poetic terms for weapons and armour. This article introduces an approach to kennings as semantic formulae and includes an illustrative case study on kennings meaning ‘battle’ in the last three metrical positions of a dróttkvætt line. The case study is simultaneously used to demonstrate the degree of integration of mythological proper names in the poetic register. This article contains only the first case study of a series. It provides foundations for examining variation in the associative links exhibited by names of mythic beings as a category according to the metrical positions in which a battle-kenning is realized.
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Navarro Colorado, Borja. "Hacia un análisis distante del endecasílabo áureo: patrones métricos, frecuencias y evolución histórica." Rhythmica. Revista Española de Métrica Comparada, no. 14 (January 1, 2016): 89. http://dx.doi.org/10.5944/rhythmica.18459.
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En este trabajo se desarrolla un análisis de los principales tipos de endecasílabos utilizados en los sonetos del Siglo de Oro. Como novedad, aplicamos un método de análisis macro o distante, mediante el análisis computacional de un corpus de más de setenta mil (70.000) versos. A partir de un modelo formal de patrón métrico, analizamos los tipos de patrones métricos más frecuentes y su evolución histórica. Los resultados, sin ser aún concluyentes, sí muestran las principales preferencias métricas de los diferentes autores y cómo varían a lo largo de los siglos XVI y XVII.In this paper an analysis of the hendecasyllable meter in the Golden Age Spanish sonnets is presented. A macroanalysis or (computer-based) “distant reading” approach is applied to a corpus of more than 70 000 hendecasyllables. Based on a formal definition of metrical pattern, I analyze the most frequent metrical patterns and their historical development. Results are not entirely conclusive, but they show the main authors’ metrical preferences and their evolution during 16th and 17th Centuries.
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Duanmu, San. "A corpus study of Chinese regulated verse: phrasal stress and the analysis of variability." Phonology 21, no. 1 (May 2004): 43–89. http://dx.doi.org/10.1017/s0952675704000132.
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I introduce 1460 lines of Chinese regulated verse and offer an analysis of the data. I also compare Chinese with English and discuss two approaches to variability in linguistic patterns (such as regular vs. exceptional forms, or perfect verse lines vs. lines with metrical tension). I argue that, whereas word stress is often more important than phrasal stress in English, it is crucial to understand the latter in Chinese. However, stress maxima play a central role in both languages. This suggests that metre is probably less variable cross-linguistically than previously thought. Moreover, while a correlation is thought to exist between metrical tension and frequency, it is difficult to see it in the present corpus. I argue that non-phonological factors can influence frequency patterns and that the presence of variable patterns does not necessarily imply the presence of marked forms. Rather, even fully well-formed patterns may occur rarely.
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Holsinger, David J. "Weak position constraints : the role of prosodic templates in contrast distribution." ZAS Papers in Linguistics 19 (January 1, 2000): 91–117. http://dx.doi.org/10.21248/zaspil.19.2000.69.
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I argue in this study that consonantal strength shifts can be explained through positional bans on features, expressed over positions marked as weak at a given level of prosodic structure, usually the metrical foo!. This approach might be characterized as "templatic" in the sense it seeks to explain positional restrictions and distributional patterns relative to independently motivated, fixed prosodic elements. In this sense, it follows Dresher & Lahiri's (1991) idea of metrical coherence in phonological systems, namely, "[T]hat grammars adhere to syllabic templates and metrical patterns of limited types, and that these patterns persist across derivations and are available to a number of different processes ... " (251). [...] The study is structured as follows: section 1 presents a typology of distributional asymmetries based on data from unrelated languages, demonstrating that the stress foot of each of these languages determines the contexts of neutralization and weakening of stops. Section 2 elaborates the notion of a template, exploring some of its formal properties, while section 3 presents templatic analyses of data from English and German. Section 4 explores the properties of weak positions, especially weak onsets, in more detail, including discussion of templates in phonological acquisition. Section 5 summarizes and concludes the study.
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Banel, Marie-Hélǹe, and Nicole Bacri. "On metrical patterns and lexical parsing in French." Speech Communication 15, no. 1-2 (October 1994): 115–26. http://dx.doi.org/10.1016/0167-6393(94)90046-9.
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Hitch, Doug. "Contracted Semivowels in Old Khotanese." Indo-Iranian Journal 59, no. 3 (2016): 259–94. http://dx.doi.org/10.1163/15728536-05903001.
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This completes a study begun with ‘Contracted Diphthongs in Old Khotanese’ (2015b) of the contractions seen in the secondary declensions. Here are examined the phenomena of diphthong resolution, semivocalization and glide resolution. Metrical patterns in the great Buddhist poem known as The Book of Zambasta are used to reveal word structure not shown by the orthography. The diphthongs revealed in the earlier study, written CyV or CvV may resolve into CiyV (CäyV) or CuvV but keep the same metrical count. Oblique plural is recognized as a distinct grammatical category and it is shown how the oblique plural suffixes induce semivocalization rather than diphthongization. The orthographic sequences containing a semi-vowel, CyV or CvV, are identical to those containing a diphthong. They may also resolve orthographically to CiyV (CäyV) or CuvV, but with these resolved glides an extra mora is added to the metrical count. An explanation is offered for the unusual morphophonological behavior and metrical distribution of the IAP morpheme -yau. Many of the contraction processes may also be seen with verb stems ending in /i/ and /u/.
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ŁUKASZEWICZ, BEATA, and JANINA MOŁCZANOW. "Rhythmic stress in Ukrainian: Acoustic evidence of a bidirectional system." Journal of Linguistics 54, no. 2 (November 28, 2017): 367–88. http://dx.doi.org/10.1017/s0022226717000305.
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Bidirectional stress systems with internal lapses are rare and their existence has been recently called into question (Newlin-Łukowicz 2012). The present paper reports an acoustic study of secondary stress in Ukrainian based on polysyllabic words with lexical stress located at or near the right edge of the word. The results indicate that Ukrainian has an iteration of secondary stresses from the left edge towards the lexical stress, rather than in the opposite direction. This characteristic makes it metrically related to bidirectional stress systems with internal lapses (e.g. Polish), which invalidates the argument against such systems and proves the empirical adequacy of the metrical theories designed to account for these stress patterns.
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Nespor, Marina, and Irene Vogel. "On clashes and lapses." Phonology 6, no. 1 (May 1989): 69–116. http://dx.doi.org/10.1017/s0952675700000956.
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In phonology, one of the generalisations that seems to hold true across most, if not all, languages is that the overall rhythmic pattern tends to be organised such that there is an alternation of strong and weak syllables (cf. among others, Hayes 1980, 1984; Prince 1983; Selkirk 1984). In other words, languages tend to avoid strings of adjacent strong syllables, as well as strings of adjacent weak syllables. These generalisations are expressed by clauses (a) and (b), respectively, of Selkirk's Principle of Rhythmic Alternation (PRA):(1)Principle of Rhythmic Alternation(Selkirk 1984: 52)a. Every strong position on a metrical levelnshould be followed by at least one weak position on that levelb. Any weak position on a metrical levelnmay be preceded by at most one weak position on that levelOf course, the underlying rhythmic patterns of a language are not always in conformity with the PRA.
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Stewart, Devin J. "Divine Epithets and the Dibacchius: Clausulae and Qur'anic Rhythm." Journal of Qur'anic Studies 15, no. 2 (June 2013): 22–64. http://dx.doi.org/10.3366/jqs.2013.0095.
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Scholars of the Arabic rhetorical tradition and commentators on the rhetorical aspects of the Qur'an made important observations regarding the verse-final word (al-fāṣila) in Qur'anic verses, which in most cases corresponds to the final metrical foot of the verse. They noted when its morphological pattern (wazn, ṣīgha) either matched or did not match those of the verse-final words in adjacent verses and also discussed the deviations from ordinary grammar, syntax, morphology and style affecting these verse-final words that occurred for the sake of rhyme and rhythmical parallelism. Classical rhetoricians such as Cicero and Quintilian, in contrast, examined the two final feet of periods in Latin oratory, suggesting that certain combinations of feet were preferable on the grounds that they provided for a satisfactory closing cadence. Applying their methods to the Qur'an, this study examines verses and passages in which metrical considerations constrain penultimate feet, identifies common verse-final metrical patterns, and points out cases in which the syntax, idioms and style have been altered for the sake of rhythm. This exercise suggests that while the basic prosody of Qur'anic sajʿ is accentual, based on the number of stresses in adjacent verses, quantitative rhythmical parallelism becomes more important at the ends of verses and often includes penultimate feet.
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Kim, Eun-Sook. "Morphologically Motivated Prosodic and Metrical Structures." Annual Meeting of the Berkeley Linguistics Society 29, no. 1 (June 15, 2003): 255. http://dx.doi.org/10.3765/bls.v29i1.994.
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Proceedings of the Twenty-Ninth Annual Meeting of the Berkeley Linguistics Society: General Session and Parasession on Phonetic Sources of Phonological Patterns: Synchronic and Diachronic Explanations (2003)
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Ladinig, Olivia, Henkjan Honing, Gáábor Hááden, and Istváán Winkler. "Probing Attentive and Preattentive Emergent Meter in Adult Listeners without Extensive Music Training." Music Perception 26, no. 4 (April 1, 2009): 377–86. http://dx.doi.org/10.1525/mp.2009.26.4.377.
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BEAT AND METER INDUCTION ARE CONSIDERED important structuring mechanisms underlying the perception of rhythm. Meter comprises two or more levels of hierarchically ordered regular beats with different periodicities. When listening to music, adult listeners weight events within a measure in a hierarchical manner. We tested if listeners without advanced music training form such hierarchical representations for a rhythmical sound sequence under different attention conditions (Attend, Unattend, and Passive). Participants detected occasional weakly and strongly syncopated rhythmic patterns within the context of a strictly metrical rhythmical sound sequence. Detection performance was better and faster when syncopation occurred in a metrically strong as compared to a metrically weaker position. Compatible electrophysiological differences (earlier and higher-amplitude MMN responses) were obtained when participants did not attend the rhythmical sound sequences. These data indicate that hierarchical representations for rhythmical sound sequences are formed preattentively in the human auditory system.
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Schultz, Benjamin G., Catherine J. Stevens, Peter E. Keller, and Barbara Tillmann. "The implicit learning of metrical and nonmetrical temporal patterns." Quarterly Journal of Experimental Psychology 66, no. 2 (February 2013): 360–80. http://dx.doi.org/10.1080/17470218.2012.712146.
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Proto, Teresa, and François Dell. "The structure of metrical patterns in tunes and in literary verse. Evidence from discrepancies between musical and linguistic rhythm in Italian songs." Probus 25, no. 1 (May 2, 2013): 105–38. http://dx.doi.org/10.1515/probus-2013-0004.
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Abstract A first exploration of acceptable and unacceptable discrepancies between linguistic and musical rhythm in Italian songs has uncovered two kinds of discrepancies which do not have counterparts in literary verse: durational discrepancies between adjacent syllables and stress-beat misalignments that involve nonadjacent syllables. The latter type is explored in greater detail than the former. Our survey suggests that analogous misalignments are in principle impossible in literary verse composed in accentual or accentual-syllabic meters, because, on the one hand, the abstract metrical templates that characterize such meters are not anchored in measured time, and, on the other hand, they do not recognize more than two degrees of metrical prominence.
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Goffman, Lisa, and Caren Malin. "Metrical Effects on Speech Movements in Children and Adults." Journal of Speech, Language, and Hearing Research 42, no. 4 (August 1999): 1003–15. http://dx.doi.org/10.1044/jslhr.4204.1003.
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The present study investigates motor processes underlying the production of iambic and trochaic metrical forms for children and adults. Lower lip movement was recorded while 16 children between the ages of 3;10 and 4;9 (years; months) and 8 adults produced iambic (e.g., [pép^p]) and trochaic (e.g., ['p^pep]) nonce words. For both children and adults, movement patterns for iambic and trochaic words are well differentiated, but in qualitatively different ways. Most notably, children do not produce amplitude modulated forms for trochees, perhaps reflecting a reliance on early developing rhythmic patterns such as those seen in canonical babbling. In contrast, movements corresponding to iambs are well modulated and particularly stable for both groups of speakers, suggesting that they require increased movement specificity. It appears that metrical forms are perceptually and linguistically established and that the child finds the means available within his or her existent motor repertoire to produce adequately differentiated movements corresponding with iambs and trochees.
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London, Justin. "Cognitive Constraints on Metric Systems: Some Observations and Hypotheses." Music Perception 19, no. 4 (2002): 529–50. http://dx.doi.org/10.1525/mp.2002.19.4.529.
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This paper is a music-theoretic discussion of various studies on rhythmic perception and performance and their ramifications for discussions of musical meter. Meter is defined as a stable and recurring pattern of hierarchically structured temporal expectations. Metrical patterns, although related to the pattern of interonset intervals present in the musical surface, are distinct from that pattern. Studies of subjective rhythmization, spontaneous tempo, pulse perception, durational discrimination, and so forth are discussed with respect to their implications for meter. Not only do there seem to be upper and lower bounds for musical meter (from ≅≅100 ms to ≅≅6 s, depending on context), but there also appear to be important thresholds within this range (around 200––250 ms, 500––700 ms, and 1.5––2.0 s). Interactions between beats (i.e., interonset intervals between expectancies occurring at the rate perceived as the tactus), beat subdivision, and changes in tempo are discussed, and it is hypothesized that beat perception may require (at least potentially) the perception of a concomitant level of subdivision. The interactions between beat interonset interval, subdivision interonset interval, and various thresholds may also explain (in part) some of the differences in the expressive and/or motional character of rhythmic figures (duplets versus triplets) at different tempos. Last, a broader discussion of systematic relationships in larger metrical systems with respect to tempo is given. It is shown that the choice of tempo systematically constrains the number and kind of metric patterns that are available to the listener.
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Minerba, Emiliano. "Prosodic Rules of wolofal Compositions." Quaderni di Studi Arabi 15, no. 1-2 (December 22, 2020): 367–88. http://dx.doi.org/10.1163/2667016x-15010220.
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Abstract The paper focuses on the prosodic norms that rule the formation of the metrical patterns of wolofal verses. Wolofal is a genre, developed between 1800 and 1900 in Senegambia, of poetry in Wolof but composed according to Arabic metrical schemas and stanzas. From the beginning this genre used al-Ḫalīl’s metres, widely employed in Classical Arabic literature: it was therefore necessary for wolofal poets to elaborate a prosodic norm that allowed them to use the Arabic metres with their language’s phonology. Among the phonological particularities of Wolof one finds the syllabic structures CVC and CVCC, the possibility of crasis between different words, and the particular phonological status of prenasalised and geminate consonants. All these peculiarities have certain consequences for the metric and prosodic organisation of the verse, which will be analysed here both through metrical analysis of the texts studied, and by looking at the orthography adopted for the transcription of these poems in Arabic script.
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Suciati, Suciati, and Yuniar Diyanti. "Suprasegmental Features of Indonesian Students’ English Pronunciation and the Pedagogical Implication." SAGA: Journal of English Language Teaching and Applied Linguistics 2, no. 1 (January 4, 2021): 9–18. http://dx.doi.org/10.21460/saga.2020.21.62.
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This minor study aims at describing learners’ features of pronunciation in terms of their suprasegmental aspects found in their speech. Students were asked to read aloud a text entitled The Gorilla Joke from the © BBC British Council 2006. Students oral narrations were then analysed in terms of their intonation pattern and stress assignment in sentence level. A metrical analysis was also used to show how students produced their speech rhythm. The result of the analysis shows that given the same text to read students may produce various combination of intonation patterns. Students also misplaced stress within the syllables or assigned no stress at all. Based on the metrical phonology analysis, learners did not assign foot timely based on the timing units in connected speeches. The speech production is more like a broken speech. Students also neglected the morphophonemics rules in which they did not produce the appropriate allomorphs [t], [d], and [id] in the past participle words. These features bring about some pedagogical implication.
Keywords: student’ pronunciation features, suprasegmental aspects
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Shea, Rebecca L., and Ann A. Tyler. "The effectiveness of a prosodic intervention on children’s metrical patterns." Child Language Teaching and Therapy 17, no. 1 (February 2001): 55–76. http://dx.doi.org/10.1177/026565900101700104.
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Shea, R. L., and A. A. Tyler. "The effectiveness of a prosodic intervention on children's metrical patterns." Child Language Teaching and Therapy 17, no. 1 (February 1, 2001): 55–76. http://dx.doi.org/10.1191/026565901668193508.
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Hanssen, A., E. Leeuwenberg, and P. v. d. Helm. "Metrical information load of lines and angles in line patterns." Psychological Research 55, no. 3 (August 1993): 191–99. http://dx.doi.org/10.1007/bf00419606.
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Breteler, Jeroen. "Modeling metrical stress acquisition through alignment constraint induction." Linguistics in the Netherlands 2013 30 (November 18, 2013): 28–45. http://dx.doi.org/10.1075/avt.30.03bre.
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The paper models the acquisition of quantity insensitive metrical stress through constraint induction. A single constraint format is specified that regulates the alignment of prosodic categories. A binary and ternary foot-based prosodic hierarchy are compared in their conduciveness to learning a range of stress patterns, with clear advantages for the latter. The paper also points out the interaction between grammatical modeling and acquisition modeling with regards to the typological predictions of the grammar formalization.
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Cao, Erica, Max Lotstein, and Philip N. Johnson-Laird. "Similarity and Families of Musical Rhythms." Music Perception 31, no. 5 (December 2012): 444–69. http://dx.doi.org/10.1525/mp.2014.31.5.444.
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What determines the similarity of musical rhythms? According to the “family” theory, which this paper presents, one factor is the temporal sequence of the onsets of notes: rhythms with the same pattern of interonset intervals tend to sound similar. Another factor is meter. It determines whether or not rhythms are members of the same family, where families depend only on three types of possibility for each metrical unit. If the beat is the relevant metrical unit, these three possibilities are: 1) a note starts on a beat and therefore reinforces the meter, 2) a syncopation anticipates the beat and lasts through its onset and therefore disturbs the meter, and 3) all other events such as rests or ties that start on the beat provided no syncopation anticipates them. Two experiments showed that similarity between rhythms depends on both their temporal patterns of onsets and their families, which combined give a better account than edit distance – a metric of the distance apart of two strings of symbols. Two further experiments examined the errors that participants made in reproducing rhythms by tapping them. Errors more often yielded rhythms in the same family as the originals than rhythms in a different family.
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Snow, David. "A Prominence Account of Syllable Reduction in Early Speech Development." Journal of Speech, Language, and Hearing Research 41, no. 5 (October 1998): 1171–84. http://dx.doi.org/10.1044/jslhr.4105.1171.
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When young children produce multiword utterances and words that are polysyllabic in adult speech, they are most likely to omit unstressed syllables. Because unstressed syllables are omitted more often in weak-strong (iambic) than in strong-weak (trochaic) environments, a trochaic metrical theory has been proposed to account for the asymmetrical omission pattern. This paper presents an alternative explanation based on the notion of relative prosodic prominence. I propose that syllable prominence is a product of two orthogonal suprasegmental systems: one that marks stress/accent peaks and one that marks phrase boundaries. A two-component scale of prominence values reflecting the contributions of both systems was used to analyze single- and multi-word speech samples of 11 children 19 to 26 months of age. The results show that the prominence scale parsimoniously accounts not only for the bias toward syllable omissions in nontrochaic environments but also explains other types of syllable reduction not captured by metrical theories. Implications of the dual-system prosodic model are discussed in terms of possible contributions to a perceptually based theory of early polysyllabic and multiword patterns in child speech.
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Köhnlein, Björn. "Contrastive foot structure in Franconian tone-accent dialects." Phonology 33, no. 1 (May 2016): 87–123. http://dx.doi.org/10.1017/s095267571600004x.
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Franconian has a contrast between two tone accents, commonly referred to as Accent 1 and Accent 2. Traditional autosegmental analyses of the phenomenon suggest that this opposition derives from the presence of lexical tone. In contrast to this ‘tonal approach’, I argue that the Franconian accent contrast is based on contrastive foot structure – there is no tone in the lexicon. This ‘metrical approach’ not only accounts for the tonal differences between the accents, but also captures a variety of facts that are hard to incorporate into a synchronic tonal analysis, involving morphological alternations between Accent 1 and Accent 2, as well as the effects of vowel duration, vowel quality and consonant quality on accent-class membership. The metrical analysis of these patterns is in line with similar approaches to tone-accent contrasts in North Germanic and Scottish Gaelic.
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GASSER, MICHAEL, DOUGLAS ECK, and ROBERT PORT. "Meter as Mechanism: A Neural Network Model that Learns Metrical Patterns." Connection Science 11, no. 2 (June 1999): 187–216. http://dx.doi.org/10.1080/095400999116331.
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Redford, Melissa A. "Grammatical Word Production Across Metrical Contexts in School-Aged Children's and Adults' Speech." Journal of Speech, Language, and Hearing Research 61, no. 6 (June 19, 2018): 1339–54. http://dx.doi.org/10.1044/2018_jslhr-s-17-0126.
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Purpose The purpose of this study is to test whether age-related differences in grammatical word production are due to differences in how children and adults chunk speech for output or to immature articulatory timing control in children. Method Two groups of 12 children, 5 and 8 years old, and 1 group of 12 adults produced sentences with phrase-medial determiners. Preceding verbs were varied to create different metrical contexts for chunking the determiner with an adjacent content word. Following noun onsets were varied to assess the coherence of determiner–noun sequences. Determiner vowel duration, amplitude, and formant frequencies were measured. Results Children produced significantly longer and louder determiners than adults regardless of metrical context. The effect of noun onset on F1 was stronger in children's speech than in adults' speech; the effect of noun onset on F2 was stronger in adults' speech than in children's. Effects of metrical context on anticipatory formant patterns were more evident in children's speech than in adults' speech. Conclusion The results suggest that both immature articulatory timing control and age-related differences in how chunks are accessed or planned influence grammatical word production in school-aged children's speech. Future work will focus on the development of long-distance coarticulation to reveal the evolution of speech plan structure over time.
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Rosyida, Diana, Atiek Iiriany, and Nurjannah Nurjannah. "GSTAR-X-SUR Model with Neural Network Approach on Residuals." CAUCHY 5, no. 4 (June 17, 2019): 203. http://dx.doi.org/10.18860/ca.v5i4.5647.
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<p class="Abstract">One of the models that combine time and inter-location elements is Generalized Space Time Autoregressive (GSTAR) model. GSTAR model involving exogenous variables is GSTARX model. The exogenous variables which are used in GSTAR model can be both metrical and non-metrical data. Exogenous variable that can be applied into the forecasting of precipitation is non-metrical data which is in a form of precipitation intensity of a certain location. Currently, precipitation possesses patterns and characteristics difficult to identify, and thus can be interpreted as non-linear phenomenon. Non-linear model which is much developed now is neural network. Parameter estimation method employed is Seemingly Unrelated Regression (SUR) model approach, which can solve the correlation between residual models. This current research employed GSTARX-SUR modelling with neural network approach on residuals. The data used in this research were the records of 10-day precipitations in four regions in West Java, namely Cisondari, Lembang, Cianjur, and Gunung Mas, from 2005 to 2015. The GSTARX-SUR NN modelling resulted in precipitation deviation average of the forecast and the actual data at 4.1385 mm. This means that this model can be used as an alternative in forecasting precipitation.<strong> </strong></p>
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Roca, Iggy. "Saturation of parameter settings in Spanish stress." Phonology 22, no. 3 (December 2005): 345–94. http://dx.doi.org/10.1017/s0952675705000655.
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This paper advances a novel analysis of Spanish non-verb stress couched in the metrical model of Halle & Idsardi (1995), minimally augmented with an Edge Marking domain parameter. All relevant data are surveyed, and the patterns are classified on empirical grounds into unmarked, marked and supermarked. The unmarked pattern, assigned by default, has the stem-final syllable stressed, while the marked pattern involves a binary trochee, also on the right edge of the stem, and supermarked stress a non-final binary trochee or a word Edge Marking domain. All and only these patterns are generated, in both singulars and plurals, through permutations in the settings of three of the four Edge Marking components (domain included), checked by an avoidance constraint barring stress from the desinence. The ‘three-syllable window’ directly falls out from this machinery, both in the established Spanish vocabulary and in incoming borrowings, blind mimicry of the source form thus being obviated, indeed contradicted.
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Frog. "Mythological Names and dróttkvætt Formulae III: From Metric-Structural Type to Compositional System." Studia Metrica et Poetica 2, no. 1 (July 7, 2015): 7–33. http://dx.doi.org/10.12697/smp.2015.2.1.01.
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This article explores patterns of language use in oral poetry within a variety of semantic formula. Such a formula may vary its surface texture in relation to phonic demands of the metrical environment in which it is realised. This is the third part of a four-part series based on metrically entangled kennings in Old Norse dróttkvætt poetry as primary material. Old Norse kennings present a semantic formula of a particular type which is valuable as an example owing to the extremes of textural variation that it enables. The study concentrates on two-element kennings meaning ‘battle’. The first part in this series introduced the approach to kennings as semantic formulae and illustrated their formulaicity through evidence of the preferred lexical choices with which they were realised. The second part presented a case study illustrating that preferred word choices could extend beyond the kenning to additional elements in the line like rhyme words. The third case study presented here concentrates on the potential for a formula of this type to develop a general preference for elements of the kenning to come from one semantic category rather than another without such choices being metrically motivated per se.