Relevant bibliographies by topics / Non-tonal

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Non-tonal'

Author: Grafiati
Published: 23 August 2023

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Journal articles on the topic "Non-tonal"

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Gussenhoven, Carlos. "Commentary: Tonal complexity in non-tonal languages." Journal of Language Evolution 1, no. 1 (January 2016): 62–64. http://dx.doi.org/10.1093/jole/lzv016.

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Percival, Maida, and Kaz Bamba. "Segmental intonation in tonal and non-tonal languages." Journal of the Acoustical Society of America 141, no. 5 (May 2017): 3701. http://dx.doi.org/10.1121/1.4988075.

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Lee, Hyunjung, and Allard Jongman. "Perception of initial stops in tonal and non-tonal Korean." Journal of the Acoustical Society of America 130, no. 4 (October 2011): 2572. http://dx.doi.org/10.1121/1.3655308.

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Chen, Si, Yunjuan He, Ratree Wayland, Yike Yang, Bei Li, and Chun Wah Yuen. "Mechanisms of tone sandhi rule application by tonal and non-tonal non-native speakers." Speech Communication 115 (December 2019): 67–77. http://dx.doi.org/10.1016/j.specom.2019.10.008.

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Ciocca, Valter, Alexander L. Francis, and Yanhong Zhang. "Learning of non‐native tonal contrasts with or without tonal context." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3175. http://dx.doi.org/10.1121/1.4787948.

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Popovic, Linda. "Liszt's Harmonic Polymorphism: Tonal and Non-Tonal Aspects in 'Heroide Funebre'." Music Analysis 15, no. 1 (March 1996): 41. http://dx.doi.org/10.2307/854169.

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Dean, Roger Thornton, and Marcus Thomas Pearce. "Algorithmically-generated Corpora that use Serial Compositional Principles Can Contribute to the Modeling of Sequential Pitch Structure in Non-tonal Music." Empirical Musicology Review 11, no. 1 (July 8, 2016): 27. http://dx.doi.org/10.18061/emr.v11i1.4900.

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We investigate whether pitch sequences in non-tonal music can be modeled by an information-theoretic approach using algorithmically-generated melodic sequences, made according to 12-tone serial principles, as the training corpus. This is potentially useful, because symbolic corpora of non-tonal music are not readily available. A non-tonal corpus of serially-composed melodies was constructed algorithmically using classic principles of 12-tone music, including prime, inversion, retrograde and retrograde inversion transforms. A similar algorithm generated a tonal melodic corpus of tonal transformations, in each case based on a novel tonal melody and expressed in alternating major keys. A cognitive model of auditory expectation (IDyOM) was used first to analyze the sequential pitch structure of the corpora, in some cases with pre-training on established tonal folk-song corpora (Essen, Schaffrath, 1995). The two algorithmic corpora can be distinguished in terms of their information content, and they were quite different from random corpora and from the folk-song corpus. We then demonstrate that the algorithmic serial corpora can assist modeling of canonical non-tonal compositions by Webern and Schoenberg, and also non-tonal segments of improvisations by skilled musicians. Separately, we developed the process of algorithmic melody composition into a software system (the Serial Collaborator) capable of generating multi-stranded serial keyboard music. Corpora of such keyboard compositions based either on the non-tonal or the tonal melodic corpora were generated and assessed for their information-theoretic modeling properties.
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Lin, Hui-shan. "Tonal (non-)transfer in Kunming Reduplication." Journal of East Asian Linguistics 28, no. 1 (February 2019): 55–105. http://dx.doi.org/10.1007/s10831-019-09190-8.

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Li, Yang-wenyi, Xiaoting Cheng, Chenru Ding, John J. Galvin, Bing Chen, and Qian-Jie Fu. "Benefits of long-term music training for segregation of competing speech by tonal language speakers." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A330. http://dx.doi.org/10.1121/10.0019032.

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Extended experience with meaningful pitch information has been shown to benefit music perception as well as speech perception where pitch cues are important, such as segregation of competing speech and tonal language perception. Interestingly, pitch perception has been shown to be similar between non-musicians who speak a tonal language and musicians who speak a non-tonal language, both of which outperform non-musicians who speak a non-tonal language. However, it is unknown whether extensive music training can further benefit pitch perception in tonal language speakers. In this study, melodic contour identification, spectro-temporal pattern perception, and masked speech recognition was measured in 16 adult normal-hearing musicians and 16 non-musicians; all were Chinese native speakers of Mandarin. Melodic contour identification, spectro-temporal pattern perception, and masked speech recognition all were significantly better for musicians than for non-musicians. Compared to non-musicians, musicians better utilized talker sex cues to segregate competing speech; utilization of talker sex cues by musicians was associated with the onset and extent of music training. Across all participants, spectro-temporal pattern perception was associated with better masked speech understanding. The data suggest that early and extensive music training may further benefit tonal language speakers’ perception and utilization of pitch cues.
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Thompson, Avery. "Tonal language speakers experience less vocal impairment from alcohol." Scilight 2022, no. 33 (August 12, 2022): 331102. http://dx.doi.org/10.1063/10.0013392.

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Dissertations / Theses on the topic "Non-tonal"

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Hollington, Barnaby Paul. "Chordal roots, Klangverwandtschaft, euphony and coherence : an approach to ostensibly 'atonal', 'non-tonal' or 'post-tonal' harmonic technique." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/75394/.

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My harmonic approach is founded on two premises, pertaining especially to chordal spacing. First, that for each of the 4,096 possible sets of pitch-classes within equal temperament, without exception, certain spacing principles and techniques, if consistently applied, will generate clear, or relatively clear chordal roots. Typically, the resulting sonorities will possess more than one root – that is, be heard as polychords. Second, that one may control the level of inherent sensory dissonance of any given set of pitch-classes, presented as a chord, through register. These two factors combine to induce both harmonic coherence and euphony. For most listeners, rightly or wrongly, these are not qualities normally associated with music written using the 4,096 – that is, ostensibly ‘atonal', ‘non-tonal' or ‘post-tonal' music. Through my harmonic method, since chordal roots are consistently clarified, one may compose progressions of chordal roots – an asset on which the coherence of diatonic tonality also fundamentally depends. Within a non-diatonic context, the expressive and technical consequences are far-reaching. The following textual commentary demonstrates all of the above, supported by analyses of numerous musical extracts. These are drawn primarily from four of the compositions included in the portfolio – Madame de Meuron, The Art of Thinking Clearly, Velvet Revolution and Nevermore.
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Pang, Ming-wai, and 彭明慧. "Tonal and segmental perception in native Cantonese-speaking musicians, amateur musicians and non-musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/206684.

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Tone matching, judgment and segmental judgment tasks conducted in silent reading and listening conditions are devised to test the hypothesis that musical training improves tone and segmental (onset, rime) perception in a tone language, Cantonese, in native Cantonese-speaking individuals. Four-word sequences (in which two words are primes and two are targets, or three words are primes and one is target) were presented to three groups of participants: professional musicians, amateur musicians and non-musicians in the silent reading condition, whereas four sound stimuli of Chinese characters were presented in the listening condition, and their accuracy and response time were recorded. Musicians, both professional and amateur, performed significantly better in tone and segmental perception than their musically naïve counterparts. Moreover, the response time exhibited a contrastive pattern in the two conditions: musicians tended to respond faster in the silent reading condition, but took a longer time in the listening condition. These results clearly demonstrate that musical training facilitated the perceptual processing of Cantonese tone and segmental phonemes by native Cantonese- speakers. Music-to-language transfer effects are highlighted and the non-significant differences exhibited between professional musicians and amateur musicians in five out of six tasks show that musical training need not be pursued to an advanced level for participants to gain perceptual benefits. The results shed light on possible forms of remedial programme development and interventions for children with language disorders such as dyslexia.
published_or_final_version
Linguistics
Master
Master of Philosophy
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Filippelli, Nathanael Thomas Antonio. "An annotated bibliography of modernist non-tonal piano music for the late-beginner to late-intermediate levels." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6732.

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Jordan, Catherine. "Exploring a possible tonal loop in musicians and non-musicians and the relationship between musical expertise and cognitive ageing." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31077.

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This thesis explored two main research questions, firstly investigating whether musical expertise offers a performance advantage in working memory for sequences of tones that vary in pitch, and secondly whether any advantage of musical expertise may be present in older as well as younger individuals. Previous research on working memory for tone sequences has reported that articulatory suppression interferes with temporary storage of verbal but not with tone sequences (Koelsch et al, 2009), suggesting a “tonal loop” within a musician’s working memory (Schulze, Zysset, Mueller, Friederici, & Koelsch, 2011) that complements the phonological loop for verbal material in musicians and non-musicians alike (e.g., Baddeley, 1986; 1992). The five experiments reported here explored detection of a pitch change between pairs of tone sequences with or without concurrent articulatory suppression or singing suppression. In Experiment 1, with pairs of auditory tonal (in a musical key) sequences to be compared, singing suppression impaired non-musicians significantly more than musicians, although both groups showed an impairment, whereas only non-musicians were affected by verbal articulatory suppression. In Experiment 2, conducted only with musicians who could read music, the first sequence of each pair was presented visually and the second sequence for comparison was presented aurally. Musicians were again impaired by singing suppression but not by articulatory suppression. For Experiment 3, for auditory atonal (no musical key) pairs of sequences, non-musicians performed at floor, and musicians were again significantly more impaired by singing suppression than by articulatory suppression. In contrast, for Experiment 4, only with musicians who could read music, for visually presented atonal sequences each followed by an auditory atonal sequence for comparison, musicians were significantly more impaired by articulatory suppression than singing suppression. These results suggest that for tonal sequences, musicians use their musical training and experience, coupled with subvocalised singing, but for atonal sequences, additional strategies involving phonological rehearsal may be used. Non-musicians may also rely on musical experience and subvocal singing for tonal sequences but seem to be unable to do so for atonal sequences. Results are consistent with the use by both musicians and non-musicians of a tonal loop for the rehearsal of tone sequences, which develops with musical training and may be used in addition to subvocal rehearsal. Previous research has suggested musical expertise may offer some protection against cognitive ageing (Hanna-Pladdy & MacKay, 2011; Amer, Kalender, Hasher, Trehub, & Wong, 2013). Experiment 5 in this thesis explored whether a lifetime of musical training and experience may offer the same advantages in old age for retaining tone sequences that had been found in Experiments 1 and 3 for younger musicians. This experiment also considered whether any advantage for older musicians on this task could be explained by the proposed “bilingual advantage” (e.g., Bialystok, Craik, Klein & Viswanathan, 2004), and what other aspects of cognition might be associated with tone sequence memory performance. A test battery was utilised with 74 older adults (60-80 years of age) to assess the influence of musical and language expertise, and cognitive abilities (attention, working memory capacity, self-reported prospective and retrospective memory) on the music-related pitch sequence comparison task from Experiments 1 and 3. Working memory capacity was found to predict individual differences in the ability to detect pitch changes between pairs of tone sequences, regardless of musical experience. Older musicians performed more poorly on the pitch change detection task overall than the younger musicians in the earlier experiments, but their performance on the task was significantly better than for age-matched non-musically trained peers who were close to floor for both tonal and atonal sequences, suggesting some benefit from a lifetime of musical experience.
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Vomáčka, Jan. "Pokročilá metoda časové konverze signálu založená na detekci tonálních a netonálních segmentů." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2011. http://www.nusl.cz/ntk/nusl-219312.

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This thesis deals with the method for time conversion of an audio signal based on a different approach to groups tonal and non-tonal segment signal implemented in Matlab. The first part deal with methods for musical signal processing based on time compression or expansion and describes the problems associated with the current way of implementing these methods. The following describes the methods of variable segmentation and tonal and non-tonal components detection in the audio recording. At the second part are these methods of variable segmentation, tonal component detection and time compression or expansion implemented in MATLAB. At the third part is performed testing on sound recordings and evaluation of results.
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Cyriac, Praveen. "Tone mapping based on natural image statistics and visual perception models." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/402574.

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Les tècniques d'imatge d'alt rang dinàmic (HDR) potencialment permeten la captura i l'emmagatzematge de tota la informació de llum en una escena. No obstant això, els dispositius comuns de visualització són limitats en termes de les seves capacitats de contrast i brillantor, per tant, les imatges HDR han de ser mapejades tonalment abans de presentar-les en un dispositiu de visualització per assegurar que es reprodueix l'aspecte original de l'escena. En aquesta tesi, es prenen dos enfocaments del problema de mapeig tonal. En primer lloc, es desenvolupa un marc general per a la millora de qualsevol imatge mapejada tonalment mitjançant la reducció de la distància a la corresponent imatge HDR en termes d'una mètrica perceptiva no local. La distància es redueix al mínim per mitjà d'un algoritme de descens de gradient. En segon lloc, es desenvolupa un operador de mapeig tonal (TMO) en temps real que s'adapta bé a les estadístiques d'escenes naturals, i concorda amb els nous descobriments psicofísics i dades neurofísiques. Determinem les correctes adaptacions no lineals necessàries per als nostres resultats de mapeig tonal per tal d'obtenir l'aparença òptima en diferents condicions de visualització, a través d'experiments psicofísics i desenvolupar un mètode automàtic per poder predir dades experimentals. El nostre TMO produeix resultats d'aspecte natural, sense cap tipus d'artefactes espacials o temporals. Els tests de preferència dels usuaris mostren que el nostre mètode obté millors resultats en comparació amb les tècniques més recents. El TMO és ràpid i podria ser implementat en el hardware de la càmera. Pot ser utilitzat per al monitoratge de càmeres HDR en pantalles regulars, com a substitut de la correcció gamma, i com una manera de proporcionar al colorista amb contingut que té alhora un aspecte natural i una aparença nítida i clara.
High Dynamic Range (HDR) imaging techniques potentially allow for the capture and storage of the full information of light in a scene. However, common display devices are limited in terms of their contrast and brightness capabilities, thus HDR images must be tone mapped before presentation on a display device to ensure that the original appearance of the scene is reproduced. In this thesis, we take two approaches to the tone mapping problem. First, we develop a general framework for improving any tone mapped image by reducing the distance with the corresponding HDR image in terms of a non-local perceptual metric. The distance is minimized by means of a gradient descent algorithm. Second, we develop a real-time Tone Mapping Operator (TMO) that is well suited to the statistics of natural scenes, and is in keeping with new psychophysical findings and neurophysical data. We determine the adequate non-linear adjustments needed for our tone mapping results to look best in different viewing conditions through a psychophysical experiment and develop an automatic method that can predict the experimental data. Our TMO produces results that look natural, without any spatio-temporal artifacts. User preference tests show that our method outperforms state of the art approaches. The TMO is fast and could be implemented on camera hardware. It can be used for on-set monitoring of HDR cameras on regular displays, as a substitute for gamma correction, and as a way of providing the colorist with content that is both natural looking and has a crisp and clear appearance.
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Wang, Ning. "L’acquisition du voisement des occlusives du français par des sinophones : locuteurs wu et non-wu." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL139.

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Après avoir dégagé le système phonologique de la langue wu parlé à Suzhou selon les principes de la phonologie fonctionnelle basée sur la pertinence communicationnelle, nous nous sommes intéressé à la substance phonique des phonèmes occlusifs, en décrivant finement le voisement, l’aspiration ainsi que la voix soufflée liée au registre tonal. Le premier enjeu étant de prouver que les locuteurs du wu produisent effectivement une réalisation voisée en fonction de la position de la consonne et du registre tonal dans un contexte particulier. Nous avons alors enregistré la production d’une vingtaine de locuteurs natifs de Suzhou des deux sexes et de deux générations différentes. Nous avons ensuite mesuré les paramètres acoustiques tels que F0, VOT, v-ratio, H1-H2, H1-A1, H1-A2 et CPP. Ces résultats ont été statistiquement traités avec les méthodes de l’ANOVA, l’ART et le GLMER sur les réponses de type binomial.Le but ultime étant de savoir si le voisement constaté chez les locuteurs wu influait sur l’apprentissage de la perception et de la production des phonèmes occlusifs voisés du français et les avantageait par rapport aux Chinois qui ne parlent que mandarin. Pour ce faire, nous avons sélectionné une trentaine d’apprenants débutants dont la moitié était des locuteurs du wu et l’autre moitié était des locuteurs ayant le mandarin pour langue maternelle, pour procéder à une série de tests de perception et de production portant essentiellement sur les occlusives du français. Leurs résultats ont été analysés et comparés en appliquant les principes des modèles réputés dans le cadre de la Second Language Acquisition tels que Speech Learning Model et Perceptuel Assimilation Model
Having identified the phonological system of the Wu language spoken in Suzhou according to the principles of Functional Phonology, we are interested in the phonic substance of the stops, by describing in detail the voicing, the non-voicing, the aspiration and the breathy voice correlated with the tonal register. Our biggest challenge is to prove the fact that the Wu speakers from Suzhou indeed have a non-phonological but phonetic voicing realization due to the position of the consonant and the tonal register in a particular context. To solve this, we have recorded the production of about twenty Wu speakers from Suzhou of both genders and two generations. In addition, we have measured the acoustic parameters such as F0, VOT, v-ratio, H1-H2, H1-A1, H1-A2, and CPP. These results are statistically tested with ANOVA, ART and GLMER methods on binomial-type responses.The ultimate goal of our research is to know if this phonetic production observed in Wu speakers from Suzhou has influenced the learning of the perception and production of the voiced stops of French and gave them an advantage over the Chinese who only speak mandarin. To do this, we have selected about thirty French beginner from the same group, half of whom are the Wu speakers from the Suzhou and half of whom are native speakers of mandarin from northern China, so as to carry out a series of perception and production tests focusing on French stops. The obtained results are analyzed and compared based on the principles of reputable models of Second Language Acquisition such as the Speech Learning Model and the Perceptual Assimilation Model
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Chen, Kung-chen, and 陳冠禎. "A comparison on F0 features in tonal and non-tonal languages." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/52715277948974718036.

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碩士
國立高雄師範大學
聽力學與語言治療研究所
100
In the past, the language content differences between tonal and non-tonal languages were considered that will affect the acoustic features of speech flow. But lots of voice studies often use only two languages or uneven distribution of gender differences to compare that may lead to the results inconsistent. The purpose of this study was to compare the performance in speech flow differences between tone languages and non-tonal languages through the multi-lingual fundamental frequency features parameters analysis. In this study, the experimental test groups are 40 native speakers, which contain ten language groups which are English, French, German, Polish, Spanish, Japanese, Cantonese, , Taiwanese and Chinese. The first six groups represent non-tonal languages, and the four groups on behalf represent tone languages. Each language group contains two males and two females. Through the reading of the corpus collected and converted the samples to digitized data processing. Last used Praat and FujiParaEditor to detect the fundamental frequency features parameters, and use the data results for the statistical analysis. The results showed that tone languages and non-tonal languages at speaking fundamental frequency and fundamental frequency standard deviation was no significant difference. Tonal languages in average-accent component, accent component range and accent component standard deviation significantly higher than the non-tonal languages. And the lowest accent components in tonal languages are significantly lower than non-tonal languages. In addition, studies have shown that the pitch contour slope standard deviation, angular standard deviation and accent component standard deviation with the fundamental frequency range have a high correlation. This study found that the accent component deviation and frequency fluctuation of tone languages are higher than the non-tonal languages, and that will affect speakers’ fundamental frequency range but not cause the speaking fundamental frequency to product differences. This phenomenon can explain the different language content will lead the speakers to control difference acoustic parameters.
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LI, KAI-JUN, and 李凱珺. "A Comparison of Voice Range Profiles and Aerodynamic Measurements Between Female Speakers from Tonal and Non-tonal Language." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/60465219984793495072.

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碩士
國立臺北護理健康大學
語言治療與聽力研究所
105
Tone is the sharp transition of frequency, amplitude, and duration of the vibration of vocal folds within 150 to 300 millisecond. The process is accomplished by stretching and contraction of laryngeal muscles. Exercises on laryngeal muscles enhances its strength and endurance, coordination among respiratory, phonation, and resonance sub-systems, and overall physiological function of voice by expanding one’s speaking physiological frequency range. Tone transition suggests a mechanism similar to that of physiological voice therapy. If tonality in Mandarin is viewed as a daily vocal manipulation in pitch and loudness, it may enhance their physiological frequency range. It is clinically significant to probe into whether the existence of tonality can improve vocal function. Therefore, prior research focusing on tonality and physiological frequency range is needed, as well as discussion on the relationship between various physique and corresponding voice measures. The purposes of this study are (1) to compare the physiological frequency and intensity ranges of tonal and non-tonal language female speakers, and (2) to compare the oral pressure and phonation threshold pressure (PTP) of tonal and non-tonal language female speakers. A total 24 female participants will be recruited in the study (aged 20-40 years). There are 12 female tonal language speakers and 12 non-tonal speakers. The study is set to compare physiological performance between tonal and non-tonal language speakers by analyzing their voice range profile and aerodynamic measures. For data analysis, an independent-samples t-test and Mann-Whitney U test are used to compare vocal measures between two speaking groups. In voice range profile frequency measurements, the results revealed that tonal language female speakers had significantly greater lowest frequency, highest frequency and maximum physiological frequency range of phonation (MPFR) than non-tonal speakers. In voice range profile intensity measurements, the average loud voice, loudest voice, average soft voice, softest voice, maximum dynamic intensity range (MDIR) and average dynamic iii intensity range (MDIR) for tonal and non-tonal speakers are no significant difference. In aerodynamic measurements, tonal language female speakers had significantly lower oral pressure and phonation threshold pressure (PTP). The identification of differences in the maximum physiological frequency range of phonation, oral pressure and phonation threshold pressure between tonal and non-tonal language speakers allow us to determine the frequency and intensity effects on maximum vocal performances which could be the result of the particular types of vocal exercise associated with tonal language.The tone of tonal language appears to provide good example of a therapeutic strategy to expand the frequency range.
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Yang, Tai-lin, and 楊台麟. "On the Tonal Parsing of Taiwanese Quadrisyllabic Expressions: the Structural and Non-structural Factors." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/08812702685247116073.

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碩士
國立臺灣大學
語言學研究所
85
Abstract In this research, tonal parsing patterns of Taiwanese quadrisyllabic expressions, including idioms and A(djunct)-H( ead) expressions, are investigatedto explore the way the structural and non-structural factors function in the process of tone group formation. Concerning the structural factors, we postulate that the mismatch between the syntactic structure and the foot structure will influence the process of tone group demarcation. To investigate the effect of the degree of mismatch on tonal parsing, idioms which show different degrees of mismatch between their syntactic structures and the foot structures are selected as the test items in one of our experiments. The tonal parsing patterns of quadrisyllabic idioms show that when the degree of mismatch is higher,the application of the F(oot) T(emplate) pattern is more restrained. Besides, the tonal parsing patterns of AH expressions show that though the T(one) G(roup) F( ormation) pattern is most prominent pattern in the "frequently used" set, the application of the FT pattern is slightly encouraged when the degree of mismatch is lower. Both these phenomena validate our hypothesis. Concerning the non-structural factors, we are first concerned with the age difference. To investigate whether speakers of different ages parse utterances differently, two age groups of subjects are invited to participate in the experiments. The tonal parsing patterns of the two age groups of subjects seem to suggest that the younger subjects may tend to apply Foot Template more frequently in the tonal parsing process. Such a difference between the two age groups maybe an indicator of an on-going language change in tonal parsing. Another non-structural factor we are concerned with is the familiarity of the expression. We designed a familiarity questionnaire to investigate the effect of familiarity on tonal parsing. According to the results of the analyses, there is no necessary relation between how familiar a speaker feels an expression and how he parses it. The third non-structural factor we are concerned with is the degree of newness of an expression. The results of our experiment show that more of the less frequently used items are parsed into the FT pattern compared with the frequently used items. However, the power of newness to raise the percentage of the FT pattern is not unlimited. It is restrained by the degree of mismatch between the morphological structure and the foot structure. Besides, the familiarity scores the subjects made in the questionnaire indeed reflect the difference of the degree of newness between the two sets of AH expressions. This phenomenon discloses a fact that the degree of familiarity a speaker himself feels about the test items does not affect the way the speaker parses them. It is the relative use frequency of the test items in daily Taiwanese that does.
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Books on the topic "Non-tonal"

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White, Robert Arthur. A measure of the effects of a movable number system upon the perception and vocal performance of non-tonal music. Ann Arbor, Michigan: University Microfilms International, 1985.

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2

Truckenbrodt, Hubert. Focus, Intonation, and Tonal Height. Edited by Caroline Féry and Shinichiro Ishihara. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199642670.013.44.

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This article explores the effects of F-marking (focus) on intonation and on tonal height in intonation, with particular emphasis on German and Mandarin Chinese. It begins with a discussion of the role of stress in the sentence melody and how focus leads to changes in the stress pattern that affect the sentence melody. It then considers the effects of focus on tonal height and suggests that they are really effects of stress on tonal height, triggered because focus attracts stress; focus leads to destressing in non-focused parts of the sentence. It also presents the results of Féry and Kügler (2008) regarding the effects of focus on tonal height in German, showing that there is a further tonal height effect of focus that relates to stress, namely the cancellation of height-subordination due to stresses on earlier elements (‘upstep’).
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Yust, Jason. Tonal-Formal Disjunction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0013.

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This chapter classifies possible types of tonal–formal disjunction in sonata forms and gives a historical account of each technique in the works of Beethoven and Schubert, illustrated with a number of large-scale analyses of exceptional works. The techniques are: non-standard subordinate keys, pioneered by Beethoven; off-tonic recapitulations, also favored by Beethoven; and modulating subordinate themes, explored extensively by Schubert. Pieces analyzed include first movements of Beethoven’s op. 70/2 Piano Trio, Schubert’s Grande Sonate, D. 617, and “Lebenstürme” D. 947, and the second movement of Beethoven’s op. 59/2 String Quartet.
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Gussenhoven, Carlos. On the Intonation of Tonal Varieties of English. Edited by Markku Filppula, Juhani Klemola, and Devyani Sharma. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199777716.013.29.

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Varieties of English with substrate tone languages are tone languages. Detailed descriptions of sentence-wide tone structures in Nigerian, Ghanaian, and Cantonese English show that British English words with initial stress have H-tone melodies, while other words have MH or LH melodies. These languages vary in the use of final intonational boundary tones and the extent to which phonological downstep on H-tones is triggered by non-overt (floating) low tones (Nigerian and Ghanaian English) or by overt tones only (Cantonese English). The analyses of Nigerian English and Cantonese English are supported by the results of production and perception experiments run on location with native speakers. While the structural differences deprive these languages of the many intonation contrasts that characterize British English, two structural contrasts that British English lacks are identified in the tonal varieties.
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Yust, Jason. Formal Structure. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0004.

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William Caplin’s concept of formal functions points the way to a more flexible theory of form based on processes and structuring principles rather than fixed schemata. This chapter further generalizes the theory of formal functions to a set of form-structural criteria based on repetition, fragmentation, caesura, and contrast. The chapter also constructs such a theory of form without necessary reference to tonal criteria, thus serving the larger project of understanding form as an independent musical dimension, capable of disjunction with, or non-trivial coordination with, tonal structure. A definition of secondary theme as a specialization of subordinate theme function is also proposed.
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Temperley, David. Strategies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0009.

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Strategies are recurrent structural patterns that combine the musical dimensions explored in previous chapters—key/tonality, harmony, melody, rhythm/meter, phrase structure, timbre, form—for structural or expressive effect. One set of strategies concerns the boundary between the first VCU (verse-chorus unit) and the second; here there often seems to be an effort to balance continuity and closure. Another set of strategies involves the IV chord, which is used in rather specific ways to achieve cadential effects. VCUs often reflect an overall trajectory of tension, either “middle-peaking” or “end-peaking,” through increased rhythmic density, phrasal irregularity, and emphasis of non-tonic harmonies. Other strategies may be used to shape the energetic or tensional trajectory of a song as a whole. Finally, shifts in scale or tonal center can contribute greatly to the expressive impact of a song.
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Marlo, Michael R. Contributions of Micro-comparative Research to Language Documentation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190256340.003.0014.

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This chapter discusses the symbiotic relationship of linguistic description and comparative research. Linguistic typology relies on detailed studies of individual languages, and grammatical description of endangered and non-endangered languages benefits from prior and concurrent study of closely related languages and the identification of parameters of similarity and difference. This view is supported by discussion of phenomena in Bantu languages, including tone and reduplication with considerable micro-parametric variation, particularly involving object markers. Two case studies are presented: (i) exceptional tonal properties of the first person singular object prefix N- and the reflexive marker di-i- in Yao, and (ii) exceptional patterns of reduplication involving /i/-initial verbs in Buguumbe Kuria which suggest a connection with the reflexive. Knowledge of analogous patterns in other languages informs the description and analysis of each language, and each case expands knowledge of the typology of patterns of exceptional object marking in Bantu languages, aiding future description of other languages.
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Book chapters on the topic "Non-tonal"

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Hyman, Larry M., and Kemmonye C. Monaka. "Tonal and Non-Tonal Intonation in Shekgalagari." In Prosodic Categories: Production, Perception and Comprehension, 267–89. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-94-007-0137-3_12.

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Bhanja, Chuya China, Mohammad Azharuddin Laskar, and Rabul Hussain Laskar. "Formants and Prosody-Based Automatic Tonal and Non-tonal Language Classification of North East Indian Languages." In Advances in Intelligent Systems and Computing, 169–79. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-9680-9_14.

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Volskaya, Nina, and Tatiana Kachkovskaia. "Tonal Specification of Perceptually Prominent Non-nuclear Pitch Accents in Russian." In Speech and Computer, 699–705. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-43958-7_85.

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Krumhansl, Carol L. "Tonal hierarchies in atonal and non-Western tonal music." In Cognitive Foundations of Musical Pitch, 240–70. Oxford University Press, 2001. http://dx.doi.org/10.1093/acprof:oso/9780195148367.003.0010.

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Calico, Joy H. "Post-Tonal Music and Well-Being." In Music and Human Flourishing, 51—C3P85. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197646748.003.0004.

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Abstract This chapter proposes that rigorous intellectual engagement with post-tonal music can contribute to well-being. Experiments in the realm of neuroscience and music psychology have focused almost exclusively on consonant, diatonic music. Neuroscience that treats dissonance has tended to focus on cognition of isolated dissonant sounds rather than non-tonal music, and music psychology that focuses on non-tonal music has retained an orientation rooted in structural listening. Neither is interested in the question of well-being. The author builds on the positive psychology model that Tay, Pawelski, and Keith have proposed for the humanities and human flourishing; music cognition; Rita Felski’s positive aesthetics; and Elvira Brattica’s work in neuroaesthetics to propose a model for listening, study, and critique of post-tonal music as tributaries to well-being. A synthesis of musicology, neuroaesthetics, and positive psychology can move beyond rudimentary questions of perception and cognition and toward those of human flourishing.
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Chandler, Oliver. "Tonal-Atonal Equilibrium: Reginald Smith Brindle’s Harmony of Peace (1979) and El Polifemo de oro (1956)." In A Twelve-Tone Repertory for Guitar: Julian Bream and the British Serialists, 1956–1983, 21–46. Guitar Foundation of America, 2023. http://dx.doi.org/10.56902/gfarm.2023.4.5.

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Reginald Smith Brindle once claimed that “a whole generation [of composers] dedicated their efforts in one way or another to the exploration of the field between tonality and atonality, and to the integration of serialism into a more accessible language.” But how was such integration actually to be achieved? Chapter 1 addresses this question from a music-theoretical perspective. In an attempt to explain how post-tonal harmonic progressions might “make sense,” Smith Brindle himself formulated theories of tension flow and tonal-atonal equilibrium in his 1966 textbook, Serial Composition. The former theory compares the number of consonant and/or dissonant intervals between chords, albeit without providing a consistent means of distinguishing between similar sonorities; the latter observes that various musical passages strike a balance between functional and non-functional harmony, albeit without explaining the nature of said balance (or, indeed, what it is for something to be functional or non-functional). While his ideas are evocative, they lack theoretical finesse. Placing them in dialogue with recent developments in post-tonal scholarship helps to unlock their potential. Joseph Straus’s theory of voice leading in set-class space, for example, defines tension flow more rigorously: coherent post-tonal progressions often move smoothly from an initial, chromatically compact set class to one that is more open and spacious. To my mind, sets of the latter type often resemble traditional seventh chords; they contain a tritone that requires resolution. If this tritone resolves to a third, then a contrapuntal resolution takes place, even if that third is housed in a dissonant harmony. Smith Brindle’s concept of tonal-atonal equilibrium neatly captures this effect—of simultaneous melodic release and increased harmonic tension. I explore the practical implications of these ideas through analysis of The Harmony of Peace from Smith Brindle’s Ten Simple Preludes (1979) and the first fragment of his El Polifemo de oro (1956). I conclude the chapter, however, with an analysis of the latter piece’s third fragment, in which tonal-atonal equilibrium is manifested by non-dodecaphonic means. Rather than clinging to serialism unthinkingly, Smith Brindle uses it as a creative spur to craft his own system and affects.
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Johnson, Julian. "Taking place." In After Debussy, 171–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190066826.003.0006.

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Music ‘after Debussy’ does not present musical arguments or narratives, but rather ‘takes place’ and is thus experienced more like landscape, or the painting of landscape, than literature. It is concerned neither with representation nor communication. A central concern with the sea, from Debussy’s La mer (1905) through to Murail’s Le partage des eaux (1996) and Saariaho’s L’amour de loin (2001) denotes a concern with allowing music to be endlessly mobile in its play of forms and colours, but non-discursive. This requires a different kind of listening which relates to a different kind of consciousness of the sonic environment. The closed space of the garden is explored in Fauré’s song cycle Le jardin clos (1914). Debussy’s La mer forms a principal focus for exploring an immersive play of forms that work outside the linearity of tonal practice.
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Jordan, Julia. "Oblique Strategies and Experimental Fictions." In Late Modernism and the Avant-Garde British Novel, 1–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857280.003.0001.

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The writers that are the subject of this book have begun to assume increasing importance, gaining in readership, scholarly attention, and critical significance. Yet it has not so far been possible to understand their tonal and formal particularity in its full relation to late modernism, which has recently been defined less as a periodizing hypothesis and more as a distinctive set of aesthetic and philosophical concerns of its own. In this introductory chapter, Oblique Strategies proposes a new reading of these writers, as not merely defined by certain formal effects, including the self-consciously opaque or abstruse, the non-linear, jump-cut, or typographically virtuosic, but arguing that this particular strain of late modernism is best understood as constituted by their thematic and philosophical concern with accident and indeterminacy. Here the book makes the case for these writers’ collective sense of themselves as writing modernist fiction after modernism, with all the belatedness, uncertainty, and paradoxical urgency—aesthetic, philosophical, and stylistic—that obtains.
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van der Hulst, Harry. "Special structures." In Principles of Radical CV Phonology, 242–82. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474454667.003.0008.

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In this chapter, I propose both incomplete and overcomplete structures for segment types that call for one or the other. Incomplete structures are structures that miss one of the element classes. In previous chapters, we will already have seen examples of this, in the sense that a non-tonal language does not use the laryngeal node for vowels. We have also seen that the locational class can be missing, as in central vowels and pharyngeal and laryngeal consonants. What cannot be missing is the manner class because this class, being the head class, is obligatory. I will discuss one possible exception to this. I will consider whether the manner class, being obligatory, can be ‘empty’, then providing a different approach that may not require this kind of ‘abstractness’. Subsequently, I turn to overcomplete structures which are necessary for various classes of so-called complex segments, such as clicks, multiple-articulated consonants, short diphthongs and some others.
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Chandler, Oliver. "Toward a Pandiatonic Serialism: Richard Rodney Bennett’s Impromptus (1968) and Sonata (1983)." In A Twelve-Tone Repertory for Guitar: Julian Bream and the British Serialists, 1956–1983, 95–122. Guitar Foundation of America, 2023. http://dx.doi.org/10.56902/gfarm.2023.4.8.

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One of the characteristic aspects of Bennett’s guitar works is his use of exclusively pandiatonic pc sets, and of his treatment of tone rows as generating complexes rather than as themes. Richard Cohn defines pandiatonicism (after Slonimsky) as “using diatonic scales without triads.” I use the term principally to refer to diatonic, non-triadic sets that are combined in (often freely) chromatic combinations. In the first of the Impromptus, the pandiatonic quality of the row’s constituent sets represents an almost incidental facet of the overall musical argument, which privileges more standard means of post-tonal motivic development. Pandiatonic sets account mostly for the relative consonance of the surface, although they can still be understood abstractly to frame sections in ways almost suggestive of a tonal center. In the final Arioso, however, a single, prolonged set class, intoned melodically, is juxtaposed with and contextualized by a number of different pan-diatonic verticals. The levels of relative dissonance or consonance that result are dependent on scalar proximity or distance (as determined by the cycle of fifths). Furthermore, the unfolding of the piece is determined by the “prolonged” pandiatonic set class’s becoming increasingly “denatured” (i.e., turned into a fully chromatic pitch grouping) in its middle section, before being restored at the beginning of the movement’s final section. In the opening Allegro of the Sonata, by contrast, a twelve-tone row is arguably supplanted by an initiating eighteen-note gestural shape, which is then transformed serially. Bennett’s new, more extensive row ultimately carries his earlier pan-diatonic arguments one step further, modeling a vectored motion from pan-diatonic overdetermination to pan-diatonic specificity. Even where strict serialism is decentred, in sections of the Allegro and the work’s other movements, this is in aid of creating a richer harmonic argument, juxtaposing pan-diatonic sets with chromatic, octatonic, hexatonic, and whole-tone sets (thus building on the “denaturing” process encountered in the Arioso).
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Conference papers on the topic "Non-tonal"

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Li, Yan. "Tonal and non-tonal intonation in Yichang dialect." In 2016 International Conference on Asian Language Processing (IALP). IEEE, 2016. http://dx.doi.org/10.1109/ialp.2016.7875977.

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Metze, Florian, Zaid A. W. Sheikh, Alex Waibel, Jonas Gehring, Kevin Kilgour, Quoc Bao Nguyen, and Van Huy Nguyen. "Models of tone for tonal and non-tonal languages." In 2013 IEEE Workshop on Automatic Speech Recognition & Understanding (ASRU). IEEE, 2013. http://dx.doi.org/10.1109/asru.2013.6707740.

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Hasija, Taniya, Virender Kadyan, and Kalpna Guleria. "Recognition of Children Punjabi Speech using Tonal Non-Tonal Classifier." In 2021 International Conference on Emerging Smart Computing and Informatics (ESCI). IEEE, 2021. http://dx.doi.org/10.1109/esci50559.2021.9397041.

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Alphonsa, Alice Celin, Chuya China Bhanja, Azharuddin Laskar, and Rabul Hussain Laskar. "Spectral feature based automatic tonal and non-tonal language classification." In 2017 International Conference on Intelligent Computing, Instrumentation and Control Technologies (ICICICT). IEEE, 2017. http://dx.doi.org/10.1109/icicict1.2017.8342752.

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Wang, Liang, Eliathamby Ambikairajah, and Eric H. C. Choi. "A Novel Method for Automatic Tonal and Non-Tonal Language Classification." In Multimedia and Expo, 2007 IEEE International Conference on. IEEE, 2007. http://dx.doi.org/10.1109/icme.2007.4284659.

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Choudhury, Biplav, and Tameem Salman Choudhury. "A comparitive study on classifiers to classify languages into Tonal and Non-Tonal Languages." In 2015 International Symposium on Advanced Computing and Communication (ISACC). IEEE, 2015. http://dx.doi.org/10.1109/isacc.2015.7377329.

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Chong, Chee Seng, Jeesun Kim, and Chris Davis. "Exploring acoustic differences between Cantonese (tonal) and English (non-tonal) spoken expressions of emotions." In Interspeech 2015. ISCA: ISCA, 2015. http://dx.doi.org/10.21437/interspeech.2015-333.

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Fukunari, Takeshi, Sean Arn, and Satoshi Tojo. "CCG analyzer with Tonal Pitch Space for non-classical chords." In 2016 Eighth International Conference on Knowledge and Systems Engineering (KSE). IEEE, 2016. http://dx.doi.org/10.1109/kse.2016.7758060.

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Franco, Andrea, Michael Moessner, Roland Ewert, and Jan W. Delfs. "Fast Non-Empiric Tonal Noise Prediction Model for Installed Propulsors." In 28th AIAA/CEAS Aeroacoustics 2022 Conference. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2022. http://dx.doi.org/10.2514/6.2022-2961.

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Wang, Dongmei, James M. Kates, and John H. L. Hansen. "Investigation of the relative perceptual importance of temporal envelope and temporal fine structure between tonal and non-tonal languages." In Interspeech 2014. ISCA: ISCA, 2014. http://dx.doi.org/10.21437/interspeech.2014-123.

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