Relevant bibliographies by topics / Pitch

Academic literature on the topic 'Pitch'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 May 2024

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Journal articles on the topic "Pitch"

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Tajika, Tsuyoshi, Noboru Oya, Tsuyoshi Ichinose, Daisuke Shimoyama, Tsuyoshi Sasaki, Takanori Hamano, Hitoshi Shitara, et al. "Relation between grip and pinch strength and pitch type in high school pitchers with and without elbow symptoms." Journal of Orthopaedic Surgery 28, no. 1 (January 1, 2020): 230949901989074. http://dx.doi.org/10.1177/2309499019890743.

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Objective: Gripping and pinching a ball is a fundamentally important part of the kinetic chain for throwing baseball pitches of various types. This study of high school pitchers was conducted to assess the association between grip and pinch strength, the pitch type, and the history of elbow symptoms. Methods: We examined 133 high school baseball pitchers, all of whom had completed a self-administered questionnaire including items related to pitch type throwing ratios, the age at starting each pitch type, and throwing-related elbow joint pain sustained during the prior 3 years. We measured grip strength and the bilateral side tip, key, and palmar pinch strengths. Comparisons were made between the participants with and without an elbow symptom history to assess the grip and each pinch strength, throwing ratio of pitch type, and the age at starting to throw each pitch type. Results: Pitchers with an elbow symptom history exhibited less difference between the grip strength on the throwing side than those with no elbow symptom history ( p = 0.04). No difference was found between participants with and without an elbow symptom history in terms of pinch strength, the throwing ratios of pitch types, or the age at starting to throw pitches of each type. Positive significant association was found between pinch strength on the pitching side and the forkball and screwball throwing ratio ( r = 0.27, p = 0.002). Conclusion: Grip strength might influence high school baseball pitcher elbow conditions. The frequency of certain pitch types might develop pinch strength in high school baseball pitchers.
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Portney, Daniel Aaron, Lucas T. Buchler, Jake Michael Lazaroff, Stephen Gryzlo, and Matthew Saltzman. "Release Location in a Risk Factor for Ulnar Collateral Ligament Reconstruction in Major League Baseball Pitchers." Orthopaedic Journal of Sports Medicine 6, no. 7_suppl4 (July 1, 2018): 2325967118S0016. http://dx.doi.org/10.1177/2325967118s00164.

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Objectives: Medial ulnar collateral ligament reconstruction (UCLR) is a common procedure performed for Major League Baseball (MLB) pitchers. The etiology of UCL injury is complex and not entirely understood. The purpose of this study was to use publically available pitch tracking technology (PITCHf/x) to compare the pre-injury throwing mechanics of MLB pitchers who require UCL reconstructive surgery with those of pitchers who have never undergone UCL reconstruction. Methods: Pitch tracking and demographic data on MLB pitchers who had undergone UCL reconstruction between the 2010 and 2017 seasons was gathered. Pitchers were excluded if they did not throw 100 total pitches in each of the three years prior to surgery. Furthermore, only pitch types that a given pitcher utilized more than 25 times in each of the three years prior to surgery were included for individual analysis. Pitch type, release location, and velocity were compared between the UCL reconstructive surgery cohort and a matched-control cohort. Results: The average pitch release location for pitchers who required UCL reconstruction was more lateral in the two years immediately preceding surgery than the control cohort (p=0.001 and p=0.023). Furthermore, a time-based comparison between the year immediately preceding surgery and two years prior showed a more lateral release immediately prior to surgery (p=0.036). Pitchers who required UCL reconstruction throw similar rates of fastballs as the control cohort and the average pitch velocity and fastball velocity were similar between the UCL group and the control group. The control pitchers displayed a significant decrease in average pitch velocity (p=0.005) and average fastball velocity (p=0.012) over the period of the study. Conclusion: Pitch tracking indicates pitch selection and pitch velocity are similar before that the average release point is more lateral preceding UCL reconstruction as compared to the control cohort suggesting that pitch release location might be an independent risk factor for UCL injury and reconstruction. On the other hand, pitch selection and pitch velocity are similar between these cohorts. Powerful technology including PITCHf/x allows for accurate monitoring of factors such as arm position and could potentially be used to identify pitchers at risk for UCL rupture. [Figure: see text]
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Deshpande, Sameer K., and Abraham Wyner. "A hierarchical Bayesian model of pitch framing." Journal of Quantitative Analysis in Sports 13, no. 3 (September 26, 2017): 95–112. http://dx.doi.org/10.1515/jqas-2017-0027.

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Abstract Since the advent of high-resolution pitch tracking data (PITCHf/x), many in the sabermetrics community have attempted to quantify a Major League Baseball catcher’s ability to “frame” a pitch (i.e. increase the chance that a pitch is a called as a strike). Especially in the last 3 years, there has been an explosion of interest in the “art of pitch framing” in the popular press as well as signs that teams are considering framing when making roster decisions. We introduce a Bayesian hierarchical model to estimate each umpire’s probability of calling a strike, adjusting for the pitch participants, pitch location, and contextual information like the count. Using our model, we can estimate each catcher’s effect on an umpire’s chance of calling a strike. We are then able translate these estimated effects into average runs saved across a season. We also introduce a new metric, analogous to Jensen, Shirley, and Wyner’s Spatially Aggregate Fielding Evaluation metric, which provides a more honest assessment of the impact of framing.
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Moore, Robert E., Casie Keaton, and Christopher Watts. "Role of Pitch Memory in Pitch Matching and Pitch Discrimination." ASHA Leader 10, no. 10 (August 2005): 4. http://dx.doi.org/10.1044/leader.ftr1.10102005.4.

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Cariani, P. A., and B. Delgutte. "Neural correlates of the pitch of complex tones. II. Pitch shift, pitch ambiguity, phase invariance, pitch circularity, rate pitch, and the dominance region for pitch." Journal of Neurophysiology 76, no. 3 (September 1, 1996): 1717–34. http://dx.doi.org/10.1152/jn.1996.76.3.1717.

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1. The neural correlates of low pitches produced by complex tones were studied by analyzing temporal discharge patterns of auditory nerve fibers in Dial-anesthetized cats. In the previous paper it was observed that, for harmonic stimuli, the most frequent interspike interval present in the population of auditory nerve fibers always corresponded to the perceived pitch (predominant interval hypothesis). The fraction of these most frequent intervals relative to the total number of intervals qualitatively corresponded to strength (salience) of the low pitches that are heard. 2. This paper addresses the neural correlates of stimuli that produce more complex patterns of pitch judgments, such as shifts in pitch and multiple pitches. Correlates of pitch shift and pitch ambiguity were investigated with the use of harmonic and inharmonic amplitude-modulated (AM) tones varying either in carrier frequency or modulation frequency. Pitches estimated from the pooled interval distributions showed shifts corresponding to "the first effect of pitch shift" (de Boer's rule) that is observed psychophysically. Pooled interval distributions in response to inharmonic stimulus segments showed multiple maxima corresponding to the multiple pitches heard by human listeners (pitch ambiguity). 3. AM and quasi-frequency-modulated tones with low carrier frequencies produce very similar patterns of pitch judgments, despite great differences in their phase spectra and waveform envelopes. Pitches estimated from pooled interval distributions were remarkably similar for the two kinds of stimuli, consistent with the psychophysically observed phase invariance of pitches produced by sets of low-frequency components. 4. Trains of clicks having uniform and alternating polarities were used to investigate the relation between pitches associated with periodicity and those associated with click rate. For unipolar click trains, where periodicity and rate coincide, physiologically estimated pitches closely follow the fundamental period. This corresponds to the pitch at the fundamental frequency (F0) that is heard. For alternating click trains, where rate and periodicity do not coincide, physiologically estimated pitches always closely followed the fundamental period. Although these pitch estimates corresponded to periodicity pitches that are heard for F0s > 150 Hz, they did not correspond to the rate pitches that are heard for F0s < 150 Hz. The predominant interval hypothesis thus failed to predict rate pitch. 5. When alternating-polarity click trains are high-pass filtered, rate pitches are strengthened and can also be heard at F0s > 150 Hz. Pitches for high-pass-filtered alternating click trains were estimated from pooled responses of fibers with characteristic frequencies (CFs) > 2 kHz. Roughly equal numbers of intervals at 1/rate and 1/F0 were found for all F0s studied, from 80 to 160 Hz, producing pitch estimates consistent with the rate pitches that are heard after high-pass filtering. The existence region for rate pitch also coincided with the presence of clear periodicities related to the click rate in pooled peristimulus time histograms. These periodicities were strongest for ensembles of fibers with CFs > 2 kHz, where there is widespread synchrony of discharges across many fibers. 6. The "dominance region for pitch" was studied with the use of two harmonic complexes consisting of harmonics 3-5 of one F0 and harmonics 6-12 of another fundamental 20% higher in frequency. When the complexes were presented individually, pitch estimates were always close to the fundamental of the complex. When the complexes were presented concurrently, pitch estimates always followed the fundamental of harmonics 3-5 for F0s of 150-480 Hz. For F0s of 125-150 Hz, pitch estimates followed one or the other fundamental, and for F0s < 125 Hz, pitch estimates followed the fundamental of harmonics 6-12. (ABSTRACT TRUNCATED)
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Anta, J. Fernando. "Pitch." Music Perception 32, no. 4 (April 1, 2015): 413–33. http://dx.doi.org/10.1525/mp.2015.32.4.413.

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Two experiments investigated the role of pitch-related information in tonality induction. In both experiments, participants were asked to: 1) identify (sing) the tonic of either an original sequence of tones or a distorted version in which pitch class distribution was preserved but pitch class ordering, pitch contour, and/or pitch proximity were altered; and 2) rate how confident they were in the tonic they identified. In Experiment 2, the sequences were presented with an isochronous rhythm, in order to eliminate the potential confounding effects of time-related information. The results of both experiments showed that participants’ ability to identify the tonic of the sequences, as well as their confidence in the tonic they identified, decreased when pitch class ordering was distorted, and also when pitch proximity was reduced. This suggests that tonality induction not only involves the identification of abstract pitch class structures, but it also acts as a pattern-matching process.
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McDermott, Josh H., Andriana J. Lehr, and Andrew J. Oxenham. "Is Relative Pitch Specific to Pitch?" Psychological Science 19, no. 12 (December 2008): 1263–71. http://dx.doi.org/10.1111/j.1467-9280.2008.02235.x.

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Melodies, speech, and other stimuli that vary in pitch are processed largely in terms of the relative pitch differences between sounds. Relative representations permit recognition of pitch patterns despite variations in overall pitch level between instruments or speakers. A key component of relative pitch is the sequence of pitch increases and decreases from note to note, known as the melodic contour. Here we report that contour representations are also produced by patterns in loudness and brightness (an aspect of timbre). The representations of contours in different dimensions evidently have much in common, as contours in one dimension can be readily recognized in other dimensions. Moreover, contours in loudness and brightness are nearly as useful as pitch contours for recognizing familiar melodies that are normally conveyed via pitch. Our results indicate that relative representations via contour extraction are a general feature of the auditory system, and may have a common central locus.
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Peters, Robert W., and Joseph W. Hall. "Conditioned pitch change and pitch adaptation." Journal of the Acoustical Society of America 79, S1 (May 1986): S80. http://dx.doi.org/10.1121/1.2023407.

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Lucia, Andrew, Christopher Lee, and Matthew Lake. "Pitch to Rhythm ∷ Rhythm to Pitch." Leonardo Music Journal 20 (December 2010): 97. http://dx.doi.org/10.1162/lmj_a_00025.

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Moore, Robert E., Casie Keaton, and Christopher Watts. "The Role of Pitch Memory in Pitch Discrimination and Pitch Matching." Journal of Voice 21, no. 5 (September 2007): 560–67. http://dx.doi.org/10.1016/j.jvoice.2006.04.004.

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Dissertations / Theses on the topic "Pitch"

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Ishii, Brian. "Using Pitch Tipping For Baseball Pitch Prediction." DigitalCommons@CalPoly, 2021. https://digitalcommons.calpoly.edu/theses/2311.

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Data Analytics and technology have changed baseball as we know it. From the increase in defensive shifts to teams using cameras in the outfield to steal signs, teams will try anything to win. One way to gain an edge in baseball is to figure out what pitches a pitcher will pitch. Pitch prediction is a popular task to try to accomplish with all the data that baseball provides. Most methods involve using situational data like the ball and strike count. In this paper, we try a different method of predicting pitch type by only looking at the pitcher's pose in the set position. We do this to find a pitcher's tell or "tip". In baseball, if a pitcher is tipping their pitches, they are doing something that gives away what they will pitch. This could be because the pitcher changes the grip on the ball only for some pitches or something as small as a different flex in their wrist. Professional baseball players will study pitchers before they pitch the ball to try to pick up on these tips. If a tip is found, the batters have a significant advantage over the pitcher. Our paper uses pose estimation and object detection to predict the pitch type based on the pitcher's set position before throwing the ball. Given a successful model, we can extract the important features or the potential tip from the data. Then, we can try to predict the pitches ourselves like a batter. We tested this method on three pitchers: Tyler Glasnow, Yu Darvish, and Stephen Strasburg. Our results demonstrate that when we predict pitch type at a 70\% accuracy, we can reasonably extract useful features. However, finding a useful tip from these features still requires manual observation.
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Rieck, Stacey M. "Implicit Pitch Memory in Non-Absolute Pitch Possessors." University of Dayton / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1320950771.

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Tsay, Suhchuan Jane, and Suhchuan Jane Tsay. "Phonological pitch." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186900.

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The theory proposed in this thesis, Phonological Pitch, concerns the representation and behavior of the tone feature. It is a formally simple phonological theory constrained by a set of explicit extragrammatical principles. Phonological Pitch contains two major grammatical mechanisms. First, tone is represented with a single multivalued feature (Pitch) whose value can range from 1 to n, where n is a language-specific number with no universal upper limit. Second, the Contiguity Hypothesis states that tone groups in rules must always form contiguous sets, though these groups can vary from rule to rule. Phonological Pitch can be so simple because the power of the grammatical theory is constrained with independently necessary extragrammatical factors. Specifically, limits on the number of tone levels arise from learnability and perceptual constraints, which can be precisely formalized, that also play a role in nonlinguistic domains. Similarly, the Contiguity Hypothesis is derived from psychoacoustic constraints on discriminating between acoustically similar pitches. Other perceptual and physiological constraints explain patterns in the typology of contour tones and in the interactions of tone with other features. The empirical support for Phonological Pitch includes the following. First, languages are attested with as many as five distinct tone levels, and the number of languages with n tone levels gradually decreases as n increases, rather than dropping off abruptly at some point. An analysis using learnability and perceptual constraints can explain this gradual drop better than a universal grammatical upper limit. Second, tone rules can transpose sets of tones up or down by a fixed interval, a fact which is easier to formalize with a single multivalued feature than with a set of binary features. Third, tone groups do not form universal natural classes nor groups with noncontiguous tones, as other tone theories predict. Fourth, tone interacts not only with laryngeal features like voicing, but also with nonlaryngeal features like vowel height, and both the existence and relative rarity of tone-vowel height interactions imply that understanding tone interactions requires reference to extragrammatical physiological factors.
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Razera, Daniel Espanhol. "Determinadores de pitch." Universidade de São Paulo, 2004. http://www.teses.usp.br/teses/disponiveis/18/18133/tde-02022016-164138/.

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Os parâmetros acústicos da voz abordados em diversas pesquisas de análise digital da voz, apresentam-se válidos para o uso em processo diagnóstico e terapêutico. O grupo de parâmetros de perturbação da voz necessita do conhecimento de todos os períodos do trecho de sinal de voz analisado, para ter seu valor calculado. Esta tarefa é desempenhada pelos determinadores de pitch, e a sua precisão determina a confiabilidade que se pode ter nos parâmetros calculados. Este trabalho visa estudar diversos métodos propostos ao longo dos anos e estabelecer qual destes tem a melhor precisão e robustez, quando utilizados com vozes patológicas. Estuda-se também algoritmos estimadores de pitch como uma ferramenta de auxílio para a correção e ajuste dos determinadores. Os resultados obtidos demonstram a necessidade de modificações externas e internas aos algoritmos determinadores e estimadores, para alcançarem a robustez e precisão desejada. Dois algoritmos determinadores, determinador por autocorrelação e por extração de harmônicas, mostraram-se dentro das metas estabelecidas e confirmam-se como os mais promissores em aplicações para obtenção de parâmetros acústicos da voz.
Several researches of digital speech processing validate the use of acoustic parameters of the voice in diagnosis and therapeutic processes. Perturbation parameters need the knowledge of all the periods of the analyzed voice signal, to have their values calculated. This task is carried out by the pitch trackers and their precision determines the reliability off the evaluated parameters. The purpose of this work is to study several methods proposed along the years and to establish which algorithm has the best precision and robustness, when used with pathological voices. The pitch estimation is also studied as an aid tool for the correction and adjustment of the pitch trackers. The results demonstrate the need of external and internal modifications of the trackers and detector algorithms to reach the wanted robustness and precision. The algorithms for autocorrelation and for extraction of harmonics are confirmed as the most promising in applications for obtaining of acoustic parameters of the voice.
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Younan, Elizabeth Mary. "Coherence through Pitch." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18742.

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Recent musicological output has viewed neither the aesthetic concept of organicism nor the methodology of formalistic music analysis in a favourable light. Both organicism and formalistic music analysis in the current age have been plagued by criticisms concerning its validity, purpose, and function. Thus there has been a decrease in the perceived value and usefulness of both organicism as means of rendering contemporary post-tonal compositions as cohesive entities and music analysis as a means of elucidating such organic musical construction. My aims for my thesis are, at its simplest, two-fold. Drawing upon the aesthetics of organicism and cohesion as seen in Schoenberg’s writings, I aim primarily to espouse both the purpose and effectiveness of organicism as well as music analysis in rendering art music of the twentieth and twenty-first centuries comprehensible. I also argue that organicism must be accompanied by contrast in order to maintain musical variety and interest, and I explain how I, as a composer, satisfy these two imperatives in my own compositional output. A comprehensive motivic analysis of selected works from the twentieth century in conjunction with analyses of my own compositions created as part of this degree will not only demonstrate the presence of organicism but will also argue its value in achieving coherence in post-tonal music. Investigating the intervallic properties inherent in the primary musical material of each work will demonstrate the multifaceted ways in which the composer in question takes advantage of these properties to create a work that is simultaneously diverse yet unified in its structure. A consideration of the work’s construction on both the micro and macro scale (that is, the ways in which musical cells both interact and develop on local and global levels) will demonstrate how the composer has generated an organic structural trajectory through the manipulation of a small musical cell; it will also demonstrate how such an organic structure can create meaningful and coherent listenings of the work. I aim to convey the ways in which I and the selected composers develop material to achieve variety whilst maintaining unifying musical elements. I hope to convince the reader of the value of employing a motivic-based approach when composing post-tonal works due to its possibilities of ensuring musical coherence.
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Varnau, Mary Kate. "Pitch and Pull." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1882.

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This is a multigenerational family story that takes place in the Midwest. It's about all the moments of high drama--the things that bring them closer together, that tear them apart--in the lives of two families.
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Hibbert, William A. "The quantification of strike pitch and pitch shifts in church bells." Thesis, Open University, 2008. http://oro.open.ac.uk/44498/.

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The primary objective of the work reported in this thesis was to quantify how the pitch or strike note of a bell is determined by the frequencies of its partials. Pitches of bells are generally virtual pitch or missing fundamental effects, generated in the ear rather than present as a frequency in the radiated sound. The exact pitch is shifted from that expected for the missing fundamental by changes in the frequency of various partials. This can cause bells whose partials are in theory tuned precisely, to sound out of tune by considerable fractions of a semitone. The pitch shifts were quantified at frequencies across the audible spectrum by a set of experiments carried out on 30 subjects. Subsidiary experiments established which partials create a bell’s pitch or pitches at different frequencies, and showed that partial amplitude does not significantly affect bell pitch. A simple model of pitch shift was devised from the test results which gave good agreement with the stretch tuning in a number of peals of bells. Stretch tuning has not previously been satisfactorily explained. The pitch shifts were also compared against Terhardt’s algorithm for virtual pitch, which did not predict the shifts seen in practice. To prepare for these experiments, a comprehensive investigation was done of the partial frequencies of over 2,000 bells with a wide range of dates, weights and founders. An unexpected and straightforward relationship was found between the frequencies of the upper partials which generate virtual pitches, which seems to apply to all bronze and steel bells of Western shape. The relative frequencies of these partials are in turn determined by the thickness of the bell’s wall near the rim. This relationship between the partials has not been previously reported, and explains previous failed attempts by bellfounders to tune these partials independently. The modified version of Chladni’s law proposed by Perrin and Rossing for these partial frequencies was found not to give as good a fit to their frequencies as the relationship discovered in this research. The work presented in this thesis is important for at least two reasons: • It provides new practical guidance for the design and tuning of bells • The shifts in virtual pitches observed as a result of upper partial changes support current research into pitch generation mechanisms in the human ear.
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Unger, Brandon Lloyd. "Pitch range and pitch declination in asperger syndrome reading a dramatic passage /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1154539606.

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Thesis (M.A.)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Nov. 30, 2006). Includes abstract. Keywords: Asperger Syndrome; Prosody; Pitch Range; Pitch Declination; Reading. Includes bibliographical references.
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UNGER, BRANDON LLOYD. "PITCH RANGE AND PITCH DECLINATION IN ASPERGER SYNDROME: READING A DRAMATIC PASSAGE." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1154539606.

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Bawaqneh, Hamdi. "Virtual Vehicle Pitch Sensor." Thesis, Linköpings universitet, Institutionen för systemteknik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-69944.

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An indirect tire pressure monitoring system uses the wheel rolling radius as an indicator of low tire pressure. When extra load is put in the trunk of a car, the load distribution in the car will change. This will affect the rolling radius which in its turn will be confused with a change in the tire pressure. To avoid this phenomenon, the load distribution has to be estimated. In this thesis methods for estimating the pitch angle of a car and an offset in the pitch angle caused by changed load distribution are presented and when an estimate is derived, a load distribution can be derived. Alot of available signals are used but the most important are the longitudinal accelerometer signal and the acceleration at the wheels derived from the velocity of the car. A few ways to detect or compensate for a non-zero road grade are also presented. Based on the estimated offset, a difference between the front and rear axle heights in the vehicle can be estimated and compensating for the changed load distribution in an indirect tire pressure monitoring system will be possible.
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Books on the topic "Pitch"

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Plack, Christopher J., Richard R. Fay, Andrew J. Oxenham, and Arthur N. Popper, eds. Pitch. New York, NY: Springer New York, 2005. http://dx.doi.org/10.1007/0-387-28958-5.

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(Group), Pitch. Pitch. London: The Group, 1994.

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Pitch dark. London: Sphere, 1985.

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Alameda, Courtney. Pitch dark. New York, NY: Feiwel & Friends, 2018.

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Guthrie, A. B. Wild pitch. Lincoln: University of Nebraska Press, 2010.

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Farrelly, Peter, Alan Greenspan, Bobby Farrelly, Lowell Ganz, and Babaloo Mandel. Fever pitch. Beverly Hills, Calif.]: 20th Century Fox Home Entertainment, 2005.

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Pitch dark. New York: St. Martin's Griffin, 2011.

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Kamps, Haje Jan. Pitch Perfect. Berkeley, CA: Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-6065-4.

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Hornby, Nick. Fever Pitch. London: Indigo, 1996.

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Hornby, Nick. Fever pitch. New York: Riverhead Books, 1998.

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Book chapters on the topic "Pitch"

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de Cheveigné, Alain. "Pitch Perception Models." In Pitch, 169–233. New York, NY: Springer New York, 2005. http://dx.doi.org/10.1007/0-387-28958-5_6.

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Zwicker, Eberhard, and Hugo Fastl. "Pitch and Pitch Strength." In Psychoacoustics, 111–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 1999. http://dx.doi.org/10.1007/978-3-662-09562-1_5.

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Fastl, Hugo, and Eberhard Zwicker. "Pitch and Pitch Strength." In Psychoacoustics, 111–48. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-68888-4_5.

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Schneider, Albrecht. "Pitch and Pitch Perception." In Springer Handbook of Systematic Musicology, 605–85. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_31.

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Hartmann, William M. "Pitch." In Principles of Musical Acoustics, 137–44. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_13.

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Daugherty, Larry C., Brandon J. Fisher, Christin A. Knowlton, Michelle Kolton Mackay, David E. Wazer, Anthony E. Dragun, James H. Brashears, et al. "Pitch." In Encyclopedia of Radiation Oncology, 623. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-540-85516-3_342.

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Gooch, Jan W. "Pitch." In Encyclopedic Dictionary of Polymers, 539. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_8778.

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Gooch, Jan W. "Pitch." In Encyclopedic Dictionary of Polymers, 539. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_8779.

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Weik, Martin H. "pitch." In Computer Science and Communications Dictionary, 1281. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_14119.

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Thoegersen, Peter Alexander. "Pitch." In Polytempic Polymicrotonal Music, 11–76. New York: Jenny Stanford Publishing, 2022. http://dx.doi.org/10.1201/9781003311683-2.

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Conference papers on the topic "Pitch"

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Ulbrich, Christiane. "Pitch range is not pitch range." In Speech Prosody 2006. ISCA: ISCA, 2006. http://dx.doi.org/10.21437/speechprosody.2006-179.

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Liu, Hui, Tingting Xue, and Tanja Schultz. "Merged Pitch Histograms and Pitch-duration Histograms." In 19th International Conference on Signal Processing and Multimedia Applications. SCITEPRESS - Science and Technology Publications, 2022. http://dx.doi.org/10.5220/0011310300003289.

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Mangayyagari, Srikanth, and Ravi Sankar. "Pitch conversion based on pitch mark mapping." In Proceedings 2007 IEEE SoutheastCon. IEEE, 2007. http://dx.doi.org/10.1109/secon.2007.342842.

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Igarashi, Yosuke, and Hanae Koiso. "Pitch range control of Japanese boundary pitch movements." In Interspeech 2012. ISCA: ISCA, 2012. http://dx.doi.org/10.21437/interspeech.2012-212.

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Droste, Stefan, and Charles Klinger. "Temperature variation of pitch in a pitch pot." In Optifab 2007. SPIE, 2007. http://dx.doi.org/10.1117/12.717776.

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Podsędkowski, Maciej, Michał Lipian, and Damian Obidowski. "Variable pitch propeller - blade pitch moment computational analysis." In 2023 International Conference on Unmanned Aircraft Systems (ICUAS). IEEE, 2023. http://dx.doi.org/10.1109/icuas57906.2023.10155835.

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Wang, Tianyu T., and Thomas F. Quatieri. "Multi-pitch estimation by a joint 2-d representation of pitch and pitch dynamics." In Interspeech 2010. ISCA: ISCA, 2010. http://dx.doi.org/10.21437/interspeech.2010-244.

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Shono, Takeshi, Takahiro Emoto, Udantha R. Abeyratne, Masatake Akutagawa, and Yohsuke Kinouchi. "A Human Absolute Pitch Model for Identifying Musical Pitch." In Biomedical Engineering. Calgary,AB,Canada: ACTAPRESS, 2016. http://dx.doi.org/10.2316/p.2016.832-050.

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9

Rosenberg, Andrew, and Julia Hirschberg. "Detecting pitch accent using pitch-corrected energy-based predictors." In Interspeech 2007. ISCA: ISCA, 2007. http://dx.doi.org/10.21437/interspeech.2007-466.

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Bäckström, Tom, Stefan Bayer, and Sascha Disch. "Pitch variation estimation." In Interspeech 2009. ISCA: ISCA, 2009. http://dx.doi.org/10.21437/interspeech.2009-683.

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Reports on the topic "Pitch"

1

Larsen, Brian Arthur, and Ruth M. Skoug. HOPE Release 3 Pitch Angle Sneak Peak. Office of Scientific and Technical Information (OSTI), December 2015. http://dx.doi.org/10.2172/1228077.

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2

Bartkowski, Peter T., and Paul R. Berning. Inductance Calculations of Variable Pitch Helical Inductors. Fort Belvoir, VA: Defense Technical Information Center, July 2015. http://dx.doi.org/10.21236/ada625194.

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Das, Sujit, and Prashant Nagapurkar. Sustainable Coal Tar Pitch Carbon Fiber Manufacturing. Office of Scientific and Technical Information (OSTI), May 2021. http://dx.doi.org/10.2172/1784125.

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Gonsalves, Sarah-Lee, Callista Regis, and Björn Haßler. Pitch Deck: Academic Recovery Programme Phase II. Organisation of Eastern Caribbean States, February 2022. http://dx.doi.org/10.53832/opendeved.0258.

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Hirabayashi, Mieko, Matthew Jordan, Andrew Hollowell, Michael Wiwi, and Sergio Herrera. Fine Pitch Bonding for High Density Interconnects. Office of Scientific and Technical Information (OSTI), October 2022. http://dx.doi.org/10.2172/1893991.

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Syphers M. J. Total Pitch Specification for RHIC Helical Dipole Magnets. Office of Scientific and Technical Information (OSTI), August 1997. http://dx.doi.org/10.2172/1149840.

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Price, J. T., and J. F. Gransden. Evaluation of CANMET pitch materials as coking additives. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1985. http://dx.doi.org/10.4095/302573.

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Kulsrud, R. M., and G. M. Felice. Cosmic Ray Pitch Angle Scattering Through 90{degree}. Office of Scientific and Technical Information (OSTI), September 2000. http://dx.doi.org/10.2172/764465.

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Boyer, Chris, and Matthew Weisenberger. Preparation of Mesophase Pitch Feedstock for Carbon Fiber. Office of Scientific and Technical Information (OSTI), August 2020. http://dx.doi.org/10.2172/1650140.

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Wapner, Phillip, Kengqing Jian, Yuming Gao, Gregory Crawford, Robert Hurt, and Wesley Hoffman. Pitch Wetting on Model Basal and Edge-Plane Surfaces. Fort Belvoir, VA: Defense Technical Information Center, June 2004. http://dx.doi.org/10.21236/ada443495.

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