Journal articles on the topic 'Tonal range'
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Chen, Sheng Hwa. "Voice Range Profiles for Tonal Dialect of Min." Folia Phoniatrica et Logopaedica 60, no. 1 (November 30, 2007): 4–10. http://dx.doi.org/10.1159/000111798.
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Dilley, Laura C. "Pitch Range Variation in English Tonal Contrasts: Continuous or Categorical?" Phonetica 67, no. 1-2 (2010): 63–81. http://dx.doi.org/10.1159/000319379.
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Yang, Cathryn, James N. Stanford, Yang Liu, Jinjing Jiang, and Liufang Tang. "Variation in the tonal space of Yangliu Lalo, an endangered language of Yunnan, China." Linguistics of the Tibeto-Burman Area 42, no. 1 (June 14, 2019): 2–37. http://dx.doi.org/10.1075/ltba.18008.yan.
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Abstract Endangered tone languages are not often studied within quantitative variationist approaches, but such approaches can provide valuable insights for language description and documentation in the Tibeto-Burman area. This study examines tone variation within Yangliu Lalo (Central Ngwi), a minority language community in China that is currently shifting to Southwestern Mandarin. Yangliu Lalo’s Tone 4, the rising-falling High tone, is lowering and flattening among young people, especially females, who also tend to use Lalo less frequently. Tonal range in elicited speech is shown to be decreasing as use of Lalo decreases. Concurrently, the standard deviation of the pitch of individual tones also decreases, while at the same time speakers with a narrow tonal range also show greater articulatory precision for each tone. Tonal range and standard deviation of pitch are both parameters of tonal space, the arrangement of, and relationship between, tones within the tonal system. The results from our apparent-time study suggest that tonal space provides a new avenue of sociolinguistic inquiry for tone languages.
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Đào, Đích Mục, and Anh-Thư T. Nguyễn. "Korean L2 learners’ perception and production of Vietnamese tones." Journal of Second Language Pronunciation 5, no. 2 (September 17, 2019): 195–222. http://dx.doi.org/10.1075/jslp.17011.dao.
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Abstract This study investigated the production and perception of Vietnamese tones by Korean second language (L2) learners [n = 11], comparing their performance in an Imitation task to that in Identification and Read-Aloud tasks. The results showed that the Imitation task was generally easier for Korean speakers than the Identification and Read-Aloud tasks, suggesting that imitation was performed without some of the skills required by the other two tasks. The result on tonal F0 range and speakers’ tonal range showed that the Korean leaners have significantly narrower tonal F0 range than control Vietnamese speakers [n = 11]. The results of error pattern analysis and tonal transcription in this study also suggested the effects of phonetic realizations of lexical tones in Vietnamese that are in interaction with language transfer from Korean phonology.
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Peacock, David. "Stages in the Development of Tonal Thinking in Compositions by Young Composers." British Journal of Music Education 11, no. 2 (July 1994): 93–98. http://dx.doi.org/10.1017/s026505170000098x.
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The increasing interest in children and young people as composers, as evidenced by the growing literature on the subject in recent years, has tended to overlook at least one important aspect of young composers' development: their sense of tonal thinking, its emergence and consolidation. This article traces these characteristics through the compositions of one boy, showing how he ‘progressed’ from pre-tonal operations to fully-established tonal procedures. The discussion of his development is deliberately limited to the examination of harmonic thinking, which manifests itself before long(er)-range tonal planning (in the form of tonality or key schemes) becomes a focus of concern.
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Reich, Alan R., Julie A. Mason, Robert R. Frederickson, and Robert S. Schlauch. "Factors Influencing Fundamental Frequency Range Estimates in Children." Journal of Speech and Hearing Disorders 54, no. 3 (August 1989): 429–38. http://dx.doi.org/10.1044/jshd.5403.429.
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Selected elicitation conditions were manipulated to determine their effect on fundamental frequency (F o ) range estimates in children. Forty normal children each responded to five autiotaped tone conditions: (a) discrete steps, (b) slow steps, (c) fast steps, (d) slow glissando, and (e) fast glissando. These tonal stimuli were devised to elicit each child's maximal and minimal F o . The traditional discrete-steps condition was associated with a lower maximal F o , higher minimal F o , and a more restricted F o range than all other conditions.
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Guez, Jonathan. "Toward a Theory of Recapitulatory Tonal Alterations." Journal of Music Theory 63, no. 2 (October 1, 2019): 209–29. http://dx.doi.org/10.1215/00222909-7795269.
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Despite differences in critical alignment, epistemological underpinnings, and reportorial coverage, studies of sonata forms nevertheless tend to share one feature: they devote the least amount of space to recapitulations. Two presuppositions might explain this neglect: (1) the recapitulation is an exact (or near-exact) restatement of the exposition’s thematic materials, and (2) it takes but one tonal alteration (or “adjustment”) of these materials to make a recapitulation conclude in the key in which it began. This article aims to examine the second of these presuppositions in hopes of painting a more complete and analytically adequate picture of actual practices. Its goals are, first, to give an idea of the range of strategies available to composers of the eighteenth and nineteenth centuries and, second, to show how familiarity with these strategies can open a space for new interpretations of formal drama and the plotting of narrative. The central analytic section of the article presents a taxonomy of six compositional strategies for making tonal alterations: alterations in silence, immediate alterations, thick alterations, multiple alterations, alterations without adjustment, and self-effacing alterations.
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Mahanta, Shakuntala, Amalesh Gope, and Priti Raychoudhury. "Pitch Range and Voice Quality in Dimasa Focus Intonation." Languages 6, no. 4 (November 8, 2021): 185. http://dx.doi.org/10.3390/languages6040185.
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This paper presents an analysis of Dimasa focus intonation. The acoustic analysis shows that narrow focus sentences undergo a jump in the pitch range irrespective of the underlying tonal value of the morpheme it attaches to. In addition to f0 expansion, the prosodic property of focus in Dimasa was found to have different (tense) phonation in morphologically marked narrow focus sentences when compared to the broad focus context. Thus, the tense phonation property of sentences bearing morphological focus is not only an acoustic property of a higher pitch range but may also be an acoustic cue of discourse-level intonation.
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Barsz, Kathy. "Auditory pattern perception: The effect of tonal frequency range on the perception of temporal order." Perception & Psychophysics 43, no. 3 (May 1988): 293–303. http://dx.doi.org/10.3758/bf03207873.
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McKinnon, Sean. "TBLT INSTRUCTIONAL EFFECTS ON TONAL ALIGNMENT AND PITCH RANGE IN L2 SPANISH IMPERATIVES VERSUS DECLARATIVES." Studies in Second Language Acquisition 39, no. 2 (July 19, 2016): 287–317. http://dx.doi.org/10.1017/s0272263116000267.
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The present study investigates the prosody/pragmatics interface in TBLT by extending the traditional morphological focus-on-form to a focus on intonational forms, with Spanish declaratives and imperatives. Twenty-eight intermediate L2 Spanish learners were assigned to one of two conditions that differed in the type of focus-on-form present during the pre- and posttask phases of a focused, task-based intervention: focus on grammar (FOG) or focus on grammar + intonation (FOG + I). All participants were administered an oral discourse completion task in a pre- and a posttest that elicited Spanish imperatives and declaratives to measure gains. Results show that participants, regardless of condition, did not distinguish imperatives from declaratives using intonation in the pretest. However, participants in the FOG + I condition modified their pitch range and pitch accents in the posttest to signal a difference between imperatives and declaratives, though their use was different from the input provided by a native speaker instructor.
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Moss, Fabian C., and Martin Rohrmeier. "Discovering Tonal Profiles with Latent Dirichlet Allocation." Music & Science 4 (January 2021): 205920432110488. http://dx.doi.org/10.1177/20592043211048827.
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Music analysis, in particular harmonic analysis, is concerned with the way pitches are organized in pieces of music, and a range of empirical applications have been developed, for example, for chord recognition or key finding. Naturally, these approaches rely on some operationalization of the concepts they aim to investigate. In this study, we take a complementary approach and discover latent tonal structures in an unsupervised manner. We use the topic model Latent Dirichlet Allocation and apply it to a large historical corpus of musical pieces from the Western classical tradition. This method conceives topics as distributions of pitch classes without assuming a priori that they correspond to either chords, keys, or other harmonic phenomena. To illustrate the generative process assumed by the model, we create an artificial corpus with arbitrary parameter settings and compare the sampled pieces to real compositions. The results we obtain by applying the topic model to the musical corpus show that the inferred topics have music-theoretically meaningful interpretations. In particular, topics cover contiguous segments on the line of fifths and mostly correspond to diatonic sets. Moreover, tracing the prominence of topics over the course of music history over [Formula: see text]600 years reflects changes in the ways pitch classes are employed in musical compositions and reveals particularly strong changes at the transition from common-practice to extended tonality in the 19th century.
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Ermoshkin, Alexey V., Dmitry A. Kosteev, Alexander A. Ponomarenko, Dmitrii D. Razumov, and Mikhail B. Salin. "Surface Waves Prediction Based on Long-Range Acoustic Backscattering in a Mid-Frequency Range." Journal of Marine Science and Engineering 10, no. 6 (May 25, 2022): 722. http://dx.doi.org/10.3390/jmse10060722.
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Underwater acoustic echosounding for surface roughness parameters retrieval is studied in a frequency band that is relatively new for such purposes. During the described 2-weeks sea experiment, 1–3 kHz tonal pulses were emitted from an oceanographic platform, located on the northern Black Sea shelf. Doppler spectra of the resulting reverberation were studied. The frequency band of the acoustic system, selected for this study, is chosen due to the fact that the sound propagation range is large enough for remote sensing in a coastal zone, and the resolution cell size does not limit the research. Backscattering of acoustical signals was received for distances around two nautical miles. However, it turned to be quite difficult to interpret the obtained data since backscattering spectrum shape was influenced by a series of effects, resulting in a complicated link to wind waves and currents’ parameters. Significant wave height and dominant wave frequency were estimated as the result of such signals processed with the use of machine learning tools. A decision-tree-based mathematical regression model was trained to solve the inverse problem. Wind waves prediction is in a good agreement with direct measurements, made on the platform, and machine learning results allow physical interpretation.
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Fosas de Pando, Miguel, Peter J. Schmid, and Denis Sipp. "On the receptivity of aerofoil tonal noise: an adjoint analysis." Journal of Fluid Mechanics 812 (January 5, 2017): 771–91. http://dx.doi.org/10.1017/jfm.2016.736.
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For moderate-to-high Reynolds numbers, aerofoils are known to produce substantial levels of acoustic radiation, known as tonal noise, which arises from a complex interplay between laminar boundary-layer instabilities, trailing-edge acoustic scattering and upstream receptivity of the boundary layers on both aerofoil surfaces. The resulting acoustic spectrum is commonly characterised by distinct equally spaced peaks encompassing the frequency range of convectively amplified instability waves in the pressure-surface boundary layer. In this work, we assess the receptivity and sensitivity of the flow by means of global stability theory and adjoint methods which are discussed in light of the spatial structure of the adjoint global modes, as well as the wavemaker region. It is found that for the frequency range corresponding to acoustic tones the direct global modes capture the growth of instability waves on the suction surface and the near wake together with acoustic radiation into the far field. Conversely, it is shown that the corresponding adjoint global modes, which capture the most receptive region in the flow to external perturbations, have compact spatial support in the pressure surface boundary layer, upstream of the separated flow region. Furthermore, we find that the relative spatial amplitude of the adjoint modes is higher for those modes whose real frequencies correspond to the acoustic peaks. Finally, analysis of the wavemaker region points at the pressure surface near 30 % of the chord as the preferred zone for the placement of actuators for flow control of tonal noise.
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West, David. "Tone and training: Teaching drum kit students on acoustic versus electronic instruments." Journal of Popular Music Education 5, no. 2 (July 1, 2021): 263–79. http://dx.doi.org/10.1386/jpme_00061_1.
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This article explores elements of tonal production in acoustic drums to support an argument for its use in the learning environment, as opposed to electronic drums. Aspects discussed include tonal production, range of dynamics, dynamics between components of the drum kit, articulation, specific sticks, specific types of strokes and stylistic elements. The argument focuses on describing how each of these factors work on acoustic drum kits, in what ways they differ on electronic kits and how auditory perception and training can work hand in hand with developing technical facility. Tonal quality is an important aspect for all musicians, irrespective of the instrument. An important thread in this discussion is tonal quality on the drum kit and how it is valuable in the process of training musical drummers.
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Guettler, R. D., J. R. Bellare, H. T. Davis, and L. E. Scriven. "Image enhancement and dynamic range control with unsharp masking." Proceedings, annual meeting, Electron Microscopy Society of America 45 (August 1987): 750–51. http://dx.doi.org/10.1017/s0424820100128067.
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Prints containing the maximum amount of micrograph detail are the objective of all microscopists. Due to the limited dynamic range of printing papers (Fig. 1), much darkroom time is spent in printing wide tonal-range micrographs that require contrast manipulation. We have applied the technique of unsharp masking to simplify contrast reduction and developed a process that yields significantly better results in a shorter time than the conventional method of dodging and burning. Spiegler and Juris's early works in unsharp masking have been applied by various researchers to aerial mapping, graphic arts, astronomy, and, to a limited extent, to electron micrographs. We have built upon this work and developed a simple procedure for using unsharp masking and studied the quantitative effects of its use in dynamic range control and image enhancement.
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Andrews, Melinda W., and W. Jay Dowling. "The Development of Perception of Interleaved Melodies and Control of Auditory Attention." Music Perception 8, no. 4 (1991): 349–68. http://dx.doi.org/10.2307/40285518.
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Between the ages of 5 and 10, children gain skill in focusing expectancies and attention. We asked children in that age range (and adults) to discern familiar target melodies whose notes were temporally interleaved with distractor notes. Targets varied in perceptual salience: the most hidden targets were interleaved with distractors of the same pitch range, loudness, and timbre, whereas the most salient targets differed in those dimensions from their distractors. Targets either retained their familiar "straight" form or wandered in pitch. Wandering targets preserved contour (ups and downs) but not pitch intervals, and either remained within the original key ("tonal") or deviated from it ("atonal"). Distractors were drawn from the original key ("tonal") or a distant key ("atonal"). Performance improved with age and experience, was better with salient (vs. hidden) targets, and better with straight (vs. wandering) targets. All but the 5- and 6-year-olds found salient targets easier with tonal distractors and hidden targets easier with atonal distractors. Only the youngest children found same-timbre distractors outside the pitch range of the target as disruptive as same-timbre distractors within that range. By 7—8 years of age, children were able to focus attention within the target pitch range to follow straight targets, indicating the focusing of attention in pitch; and by 9-10 years of age they were able to discern clearly the most hidden straight targets, demonstrating a rhythmic control of expectancies.
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Arif, Irsalan, Garret C. Y. Lam, Randolph C. K. Leung, and Muhammad Rehan Naseer. "Distributed surface compliance for airfoil tonal noise reduction at various loading conditions." Physics of Fluids 34, no. 4 (April 2022): 046113. http://dx.doi.org/10.1063/5.0087350.
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A novel concept of utilizing distributed surface compliance to achieve airfoil tonal noise reduction at various loading conditions is proposed. The aeroacoustics of airfoil configuration subjected to different loading conditions at angles of attack (AoAs) from 3° to 7° are numerically studied using high-fidelity two-dimensional direct aeroacoustic simulation at Reynolds and Mach numbers of [Formula: see text] and 0.4, respectively. Initially, airfoil configurations mounted with single elastic panel (SEP) at individual AoA are designed with the knowledge of respective rigid airfoil flow characteristics. Stemming from the analysis of noise reduction potential of SEP configurations using a reduced-order modeling approach, a distributed surface compliance (DSC) airfoil configuration utilizing three resonating panels is designed to attain airfoil tonal noise reduction over entire range of AoA. Comprehensive acoustic analyses establish that the DSC airfoil could provide a maximum noise reduction ranging from 3 to 7 dB without any sacrifice in airfoil aerodynamics. The extent of noise reduction with DSC airfoil is found dependent on the flow-induced modal responses of the panels. At lower AoA, the panel(s) resonate in their designed structural modes, which remarkably weaken the flow instabilities convecting over the airfoil suction surface and eventually airfoil noise radiation. At higher AoA, the panel responses deviate from their designed structural mode shapes but could still give less noise reduction. Therefore, the designed DSC airfoil shows a feasible concept for tonal noise reduction over a wide range of operational AoA, which substantiates its applicability for aerodynamic devices at low Reynolds numbers.
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Polyanskaya, Leona, Maria Grazia Busà, and Mikhail Ordin. "Capturing Cross-linguistic Differences in Macro-rhythm: The Case of Italian and English." Language and Speech 63, no. 2 (March 13, 2019): 242–63. http://dx.doi.org/10.1177/0023830919835849.
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We tested the hypothesis that languages can be classified by their degree of tonal rhythm (Jun, 2014). The tonal rhythms of English and Italian were quantified using the following parameters: (a) regularity of tonal alternations in time, measured as durational variability in peak-to-peak and valley-to-valley intervals; (b) magnitude of F0 excursions, measured as the range of frequencies covered by the speaker between consecutive F0 maxima and minima; (c) number of tonal target points per intonational unit; and (d) similarity of F0 rising and falling contours within intonational units. The results show that, as predicted by Jun’s prosodic typology (2014), Italian has a stronger tonal rhythm than English, expressed by higher regularity in the distribution of F0 minima turning points, larger F0 excursions, and more frequent tonal targets, indicating alternating phonological H and L tones. This cross-language difference can be explained by the relative load of F0 and durational ratios on the perception and production of speech rhythm and prominence. We suggest that research on the role of speech rhythm in speech processing and language acquisition should not be restricted to syllabic rhythm, but should also examine the role of cross-language differences in tonal rhythm.
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MacKay, James S. "Franz Joseph Haydn and the Five-Octave Classical Keyboard: Registral Extremes, Formal Emphases and Tonal Strategies." Canadian University Music Review 23, no. 1-2 (March 6, 2013): 126–44. http://dx.doi.org/10.7202/1014521ar.
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The Classical keyboard in its various forms (harpsichord, clavichord and fortepiano) typically had a modest five-octave range (FF–f3) prior to ca. 1800. This essay examines how this range influenced the tonal shape of Joseph Haydn's keyboard music written after 1765. The author explores how Haydn used registral extremes to emphasize major formal junctures, cadences and modulations. Finally, he explores how the presence or absence of the keyboard's extreme pitches contributes to key character, examining the different contexts in which Haydn uses them in three tonalities: D minor, C major and A major.
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Kurelek, John William, Marios Kotsonis, and Serhiy Yarusevych. "Transition in a separation bubble under tonal and broadband acoustic excitation." Journal of Fluid Mechanics 853 (August 16, 2018): 1–36. http://dx.doi.org/10.1017/jfm.2018.546.
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Transition and flow development in a separation bubble formed on an airfoil are studied experimentally. The effects of tonal and broadband acoustic excitation are considered since such acoustic emissions commonly result from airfoil self-noise and can influence flow development via a feedback loop. This interdependence is decoupled, and the problem is studied in a controlled manner through the use of an external acoustic source. The flow field is assessed using time-resolved, two-component particle image velocimetry, the results of which show that, for equivalent energy input levels, tonal and broadband excitation can produce equivalent changes in the mean separation bubble topology. These changes in topology result from the influence of excitation on transition and the subsequent development of coherent structures in the bubble. Both tonal and broadband excitation lead to earlier shear layer roll-up and thus reduce the bubble size and advance mean reattachment upstream, while the shed vortices tend to persist farther downstream of mean reattachment in the case of tonal excitation. Through a cross-examination of linear stability theory (LST) predictions and measured disturbance characteristics, nonlinear disturbance interactions are shown to play a crucial role in the transition process, leading to significantly different disturbance development for the tonal and broadband excited flows. Specifically, tonal excitation results in transition being dominated by the excited mode, which grows in strong accordance with linear theory and damps the growth of all other disturbances. On the other hand, disturbance amplitudes are more moderate for the natural and broadband excited flows, and so all unstable disturbances initially grow in accordance with LST. For all cases, a rapid redistribution of perturbation energy to a broad range of frequencies follows, with the phenomenon occurring earliest for the broadband excitation case. By taking nonlinear effects into consideration, important ramifications are made clear in regards to comparing LST predictions and experimental or numerical results, thus explaining the trends reported in recent investigations. These findings offer new insights into the influence of tonal and broadband noise emissions, resulting from airfoil self-noise or otherwise, on transition and flow development within a separation bubble.
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Madsen, P. T., F. H. Jensen, D. Carder, and S. Ridgway. "Dolphin whistles: a functional misnomer revealed by heliox breathing." Biology Letters 8, no. 2 (September 7, 2011): 211–13. http://dx.doi.org/10.1098/rsbl.2011.0701.
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Delphinids produce tonal whistles shaped by vocal learning for acoustic communication. Unlike terrestrial mammals, delphinid sound production is driven by pressurized air within a complex nasal system. It is unclear how fundamental whistle contours can be maintained across a large range of hydrostatic pressures and air sac volumes. Two opposing hypotheses propose that tonal sounds arise either from tissue vibrations or through actual whistle production from vortices stabilized by resonating nasal air volumes. Here, we use a trained bottlenose dolphin whistling in air and in heliox to test these hypotheses. The fundamental frequency contours of stereotyped whistles were unaffected by the higher sound speed in heliox. Therefore, the term whistle is a functional misnomer as dolphins actually do not whistle, but form the fundamental frequency contour of their tonal calls by pneumatically induced tissue vibrations analogous to the operation of vocal folds in terrestrial mammals and the syrinx in birds. This form of tonal sound production by nasal tissue vibrations has probably evolved in delphinids to enable impedance matching to the water, and to maintain tonal signature contours across changes in hydrostatic pressures, air density and relative nasal air volumes during dives.
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Borràs-Comes, Joan, Maria del Mar Vanrell, and Pilar Prieto. "The role of pitch range in establishing intonational contrasts." Journal of the International Phonetic Association 44, no. 1 (March 21, 2014): 1–20. http://dx.doi.org/10.1017/s0025100313000303.
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One of the unresolved issues in the field of intonational phonology is whether pitch accent range differences are used by languages to express discrete linguistic distinctions. In Catalan, as in some other Romance languages, a rising-falling nuclear pitch contour – i.e. a rising pitch accent associated with the utterance-final stressed syllable followed by a Low boundary tone – can be used to convey three different pragmatic meanings depending on its pitch range properties: information focus statements (IFSs), corrective focus statements (CFSs), and counter-expectational questions (CEQs). In order to investigate how these pragmatic meanings are distributed across the pitch range continuum and whether Catalan listeners use these tonal scaling distinctions to identify such meanings, we performed an identification task and a congruity test. The results show that CEQs differ from both IFSs and CFSs in a discrete way, yet the perceived difference between IFSs and CFSs cannot be exclusively explained by scaling differences. These findings provide further evidence that pitch range differences can be used to make intonational distinctions in some languages, and strengthen the argument that pitch range features need to be represented descriptively at the phonological level.
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Lefferts, Peter M. "Signature-systems and tonal types in the fourteenth-century French chanson." Plainsong and Medieval Music 4, no. 2 (October 1995): 117–47. http://dx.doi.org/10.1017/s0961137100000954.
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Beyond the standard and familiar theoretical instruction materials on notation and mensuration, on mode and hexachord, and on the rules of two-part counterpoint, information and insight about the techniques of musical composition in the later Middle Ages are hard to come by. From a modern vantage point, medieval music theory leaves many of the questions most interesting to us unanswered. And for our part, too, analysts of chansons and motets have yet to agree on many basic notions about how this music works, and therefore what is most necessary to talk about. It is symptomatic of this state of affairs that articles discussing analytical approaches to early music, even those addressed to specialists, do not start out in medias res but rather must begin with first principles, and that current textbooks ignore or skimp on all but the most superficial aspects of musical style. We need to establish for all genres the paradigms or fundamental givens, the constraints understood at the outset, the range of choices available to the composer.
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Yang, Cathryn. "The phonetic tone change *high > rising." Diachronica 39, no. 2 (January 19, 2022): 226–67. http://dx.doi.org/10.1075/dia.19062.yan.
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Abstract Previous research has proposed a direct path from consonantal effects on F0 to the development of a rising tone value. However, findings from tone change studies in Asian languages suggest an additional pathway to rising: a high tone (i.e., with a tonal target in the upper pitch range) may evolve into a rising tone. This study examines tone change pathways to rising in the Ngwi (Loloish) languages. Among the 11 Ngwi language clusters examined, a new rising tone value has unambiguously developed from an historically high tone in nine of them. In several clusters, prevocalic consonants conditioned a tone split, but in other clusters, *high > rising appears after both voiced and voiceless prevocalic consonants. The findings suggest that a high tonal target is a suprasegmental condition favorable to the development of a rising tone value, as reaching a high tonal target in connected speech frequently entails a rising contour.
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Stassen, H. H. "The octave approach to EEG analysis." Methods of Information in Medicine 30, no. 04 (1991): 304–10. http://dx.doi.org/10.1055/s-0038-1634849.
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Abstract:A “tonal” approach to EEG spectral analysis is presented which is compatible with the concept of physical octaves, thus providing a constant resolution of partial tones over the full frequency range inherent to human brain waves, rather than for equidistant frequency steps in the spectral domain. The specific advantages of the tonal approach, however, mainly pay off in the field of EEG sleep analysis where the interesting information is predominantly located in the lower octaves. In such cases the proposed method reveals a fine structure which displays regular maxima possessing typical properties of “overtones” within the three octaves 1-2 Hz, 2-4 Hz and 4-8 Hz. Accordingly, spectral patterns derived from tonal spectral analyses are particularly suited to measure the fine gradations of mutual differences between individual EEG sleep patterns and will therefore allow a more efficient investigation of the genetically determined proportion of sleep EEGs. On the other hand, we also tested the efficiency of tonal spectral analyses on the basis of our 5-year follow-up data of 30 healthy volunteers. It turned out that 28 persons (93.3%) could be uniquely recognized after five years by means of their EEG spectral patterns. Hence, tonal spectral analysis proved to be a powerful tool also in cases where the main EEG information is typically located in the medium octave 8-16 Hz.
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Barsz, Kathy. "The effects of frequency range, duration, context, practice, and feedback on the discrimination of tonal order in auditory sequences." Journal of the Acoustical Society of America 90, no. 4 (October 1991): 2267. http://dx.doi.org/10.1121/1.401463.
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Chen, Fei, Dingchang Zheng, and Yu Tsao. "Effects of noise suppression and envelope dynamic range compression on the intelligibility of vocoded sentences for a tonal language." Journal of the Acoustical Society of America 142, no. 3 (September 2017): 1157–66. http://dx.doi.org/10.1121/1.5000164.
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Saiz-Clar, Elena, and José M. Reales. "Predicting emotional response to music through a compound neural network." Psychology of Music 46, no. 2 (May 18, 2017): 222–37. http://dx.doi.org/10.1177/0305735617705452.
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The emotional effects of music have a cross-cultural component that can be explained through the tonal and non-tonal properties of musical pieces. To investigate the relationship between music and the emotions it arouses, we have built a composite neural network with the aim of predicting both the emotional categorization and the emotional valence and activation of Vieillard et al.’s (2008) musical stimuli. Our neural network uses two Adalines in the first level of the structure to predict activation and emotional valence from a minimal set of temporal and tonal properties of the stimuli (rhythm, tempo, time signature, mode, absolute tonal range and the frequency of the lowest note). In the second level, the network uses a Self-Organizing Map (SOM) network to classify the stimuli into four emotional categories (calm, happiness, fear and sadness). The results have allowed us to replicate the features of the Circumplex Model of Emotion. The percentage of explained variance obtained for activation is satisfactory and higher than in previous research for emotional valence. The percentage of music pieces correctly classified by the SOM was also very high (87%). We discuss the results in relation to competing models of music and emotion.
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MANZOLLI, JONTAS, ARTEMIS MORONI, FERNANDO VON ZUBENS, and RICARDO GUDWIN. "An evolutionary approach to algorithmic composition." Organised Sound 4, no. 2 (June 1999): 121–25. http://dx.doi.org/10.1017/s1355771899002083.
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This paper presents an end-user interface that allows realtime parametric control of sound events resulting in an interactive environment, in which evolutionary computation is applied to algorithmic composition. The resulting system, Vox Populi, uses genetic algorithms to generate and evaluate a sequence of chords played as MIDI data. Harmonic, tonal and voice range fitness are used to control musical features. Based on the ordering of consonance of musical intervals, the notion of approximating a sequence of notes to its harmonically compatible note or tonal centre is used. This method employs fuzzy formalism and is posited as an optimisation approach based on factors relevant to hearing music.
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Pálvölgyi, Kata Baditzné. "Tonal peaks in the spontaneous speech of vantage level Hungarian learners of Spanish." Acta Linguistica Academica 69, no. 1 (March 21, 2022): 59–73. http://dx.doi.org/10.1556/2062.2021.00436.
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Abstract This paper reports on a two-part research project, conducted in order to see how Hungarian learners with at least vantage level of Spanish realize melodic peaks in their Spanish utterances. First, we are focusing on the tonal and distributional characteristics of melodic peaks, taking into consideration the proportion of the rise in f0 with respect to the previous syllable and examining if the affected syllable is lexically stressed. Second, the range of the tonal rise until the first peak of the utterance is analyzed. The method applied in both cases is Cantero Serena’s Prosodic Analysis of Speech (2019), which represents intonation by objectively comparable standardized melodic curves. The differences found in the speech of Hungarian learners as compared to native Spanish speakers have not proved to be significant in the aspects analyzed here. The main finding of the research is that native Spanish speakers tend to realize the first peak of their declarative sentences as the highest f0 point of the utterance, whereas this is less typical in the oral production of Hungarian learners of Spanish.
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Whittall, Arnold. "‘SUBTLE SHIFTS’: HOWARD SKEMPTON'S TWENTY-FIRST-CENTURY MODERNISM." Tempo 72, no. 284 (March 20, 2018): 7–19. http://dx.doi.org/10.1017/s004029821700119x.
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ABSTRACTHoward Skempton's distinctive presence on the British musical scene, and his prolific compositional output since the mid-1960s, have presented commentators with certain challenges as they contemplate which labels to apply, and, for music analysts, which techniques to deploy. Skempton's own comments, in various interviews and essays down the years, remain the ideal starting point, suggest a range of contexts, some of which underpin this study. With reference to a few of his smaller vocal and keyboard compositions, the quality of constantly shifting rather than strictly fixed elements is explored. When pitch materials conform more or less exactly to tonal or modal tradition, rhythm is particularly important as a determinant of subtle shifting. But it is often the case that pitches identities themselves shift between functions best defined as tonal scale degrees at one extreme and post-tonal pitch classes at the other. The result is a very personal and unaggressive kind of modernism.
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Pröbsting, S., and S. Yarusevych. "Laminar separation bubble development on an airfoil emitting tonal noise." Journal of Fluid Mechanics 780 (September 2, 2015): 167–91. http://dx.doi.org/10.1017/jfm.2015.427.
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The subject of this experimental study is the feedback effects due to tonal noise emission in a laminar separation bubble (LSB) formed on the suction side of an airfoil in low Reynolds number flows. Experiments were performed on a NACA 0012 airfoil for a range of chord-based Reynolds numbers $0.65\times 10^{5}\leqslant \mathit{Re}_{c}\leqslant 4.5\times 10^{5}$ at angle of attack ${\it\alpha}=2^{\circ }$, where laminar boundary layer separation is encountered on both sides of the airfoil. Simultaneous time-resolved, two-component particle image velocimetry (PIV) measurements, unsteady surface pressure and far-field acoustic pressure measurements were employed to characterize flow development and acoustic emissions. Amplification of disturbances in separated shear layers on both the suction and pressure sides of the airfoil leads to shear layer roll-up and shedding of vortices from separation bubbles. When the vortices do not break up upstream of the trailing edge, the passage of these structures over the trailing edge generates tonal noise. Acoustic feedback between the trailing edge noise source and the upstream separation bubble narrows the frequency band of amplified disturbances, effectively locking onto a particular frequency. Acoustic excitation further results in notable changes to the overall separation bubble characteristics. Roll-up vortices forming on the pressure side, where the bubble is located closer to the trailing edge, are shown to define the characteristic frequency of pressure fluctuations, thereby affecting the disturbance spectrum on the suction side. However, when the bubble on the pressure side is suppressed via boundary layer tripping, a weaker feedback effect is also observed on the suction side. The results give a detailed quantitative description of the observed phenomenon and provide a new outlook on the role of coherent structures in separation bubble dynamics and trailing edge noise generation.
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Kone, Tenon Charly, Sebastian Ghinet, Raymond Panneton, Thomas Dupont, and Anant Grewal. "Multi-tonal low frequency noise control using Helmholtz resonators with complex cavity designs for aircraft cabin noise improvement." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 2 (August 1, 2021): 3975–86. http://dx.doi.org/10.3397/in-2021-2569.
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The noise control at multiple tonal frequencies simultaneously, in the low frequency range, is a challenge for aerospace, ground transportation and building industries. In the past few decades, various low frequency noise control solutions based on acoustic metamaterial designs have been presented in the literature. These solutions showed promising performance and are considered a better alternative to conventional sound insulation materials. In the present investigation, it was noticed that subdividing the cavity of a Helmholtz resonator allowed the control of multi-tonal noise at several resonance frequencies simultaneously and a shift of the resonance peaks towards the low frequencies. This paper proposes concepts of Helmholtz resonators with subdivided cavities to improve the sound transmission loss (STL) performance and simultaneously control the noise at several tonal frequencies. HRs with cylindrical shaped cavities were embedded in a layer of porous material. The STL of the metamaterial noise insulation configuration was predicted using serial and parallel assemblies of transfer matrices (TMM) incorporating a thermo-viscous-acoustic approach to accurately account for the viscous and thermal losses of acoustic wave propagation within the metamaterial. The STL calculated using the proposed TMM approach were observed to be in excellent agreement with the finite element method (FEM) numerical results.
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Sung, John Ka Keung, Betty Pui Ki Luk, Terence Ka Cheong Wong, Jiun Fong Thong, Hoi Tung Wong, and Michael Chi Fai Tong. "Pediatric Auditory Brainstem Implantation: Impact on Audiological Rehabilitation and Tonal Language Development." Audiology and Neurotology 23, no. 2 (2018): 126–34. http://dx.doi.org/10.1159/000491991.
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Objective: This is a retrospective review of the impact of an Auditory Brainstem Implant (ABI) on the audiological rehabilitation and tonal language development of pediatric patients with prelingual profound deafness in Hong Kong. Results: From January 2009 to February 2015, 11 pediatric patients with profound prelingual deafness received an ABI in Hong Kong (age range 1.67–3.75 years). Etiologies included Cochlear Nerve Deficiency in 7, Severe Cochlear Malformations in 2, and Retrocochlear Deafness in 2. All of them were rehabilitated in Cantonese, a dialect of Chinese. Standard pediatric cochlear implant outcome measurements were used in this study that comprised of the 7-Sound Detection, Syllable Identification, Vowel Identification, Consonant Identification, Tone Imitation, Tone Production and Speech Perception Category. Audiological rehabilitation and speech development outcomes were reviewed. Age-matched outcomes of pediatric cochlear implant users were used for comparisons. Conclusion: Encouraging results of speech development were found, especially with continued use of the ABI. There was considerable variation in outcomes. Children with coexisting developmental and nonauditory cognitive disabilities did not perform as well. Auditory brainstem implantation is a safe and beneficial treatment for profound prelingual deafness in Cantonese-speaking pediatric patients.
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Stein, Beverly. "Carissimi's Tonal System and the Function of Transposition in the Expansion of Tonality." Journal of Musicology 19, no. 2 (2002): 264–305. http://dx.doi.org/10.1525/jm.2002.19.2.264.
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The question of 17th-century tonality has intrigued scholars for years: how to make sense of a repertoire in which modal concepts appear to coexist with elements of common-practice tonality. Although the system of modes and that of modern tonality are different constructions, the aspect of functional tonality that allows for the presence of major and minor keys at all 12 levels of transposition developed in part from an extension of a technique carried over from modal practice, that of transposition of mode. Nowhere is this process of tonal expansion based on the concept of transposition of mode as clear or as well structured as in the music of Giacomo Carissimi (1605-1674), the Roman composer of oratorios, cantatas, and motets whose output spans the central 40 years of the 17th century. A close examination of Carissimi's music provides us with a snapshot of the expansion of tonality via transposition and, in addition, offers important suggestions for understanding the tonal practices of contemporaries such as Monteverdi and Cavalli. In Carissimi's music, four basic tonalities are still clearly distinguishable, recognizable through unique and predictable cadence patterns. They appear at transposition levels ranging from the three-flat to the three-sharp systems, with the one-flat system conspicuous in its absence. As shown, the core of eight central keys demonstrates key pairing in a way that models the traditional authentic-plagal relationship of modes. An overview of Carissimi's tonal system demonstrates how the ap- parent coexistence of functional tonality and much older concepts of mode and hexachord can be understood to be part of a rational and organized system. This study explores Carissimi's tonal scheme through an examination of his cantatas, the repertoire displaying the widest tonal range. Based on characteristic cadence frequencies, opening transpositions, and previously unrecognized standard cadence patterns, it is possible to determine the nature of the four primary tonalities and their relationships to one another. These cadence patterns also appear as organizing principles in works of several other 17th-century composers and suggest future avenues of research. The final section summarizes the conservative and progressive features of Carissimi's tonal system, relates his practice to discussion of transposition in two popular treatises of the time, Giovanni Maria Bononcini's Musica prattico and Lorenzo Penna's Li primi albori musicali, and compares Carissimi's practice to the system of church keys (based on common transpositions of the psalm tones) prevalent in the 17th century. A study of Carissimi's cantatas thus reveals the existence of a truly distinct 17th-century tonal practice which functions on its own terms at the same time as it exhibits concepts derived from traditional modal and hexachordal theory, as well as contemporary practices of psalmody and small-scale functional tonality.
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De Gennaro, Michele, Helmut Kühnelt, and Alessandro Zanon. "Numerical Prediction of the Tonal Airborne Noise for a NACA 0012 Aerofoil at Moderate Reynolds Number Using a Transitional URANS Approach." Archives of Acoustics 42, no. 4 (December 20, 2017): 653–75. http://dx.doi.org/10.1515/aoa-2017-0069.
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Abstract Tonal airborne noise of aerofoils appears in a limited range of moderate Reynolds numbers and angles of attack. In these specific conditions, the aerofoil is characterised by a large region of laminar flow over the aerodynamic surface, typically resulting in two-dimensional laminar instabilities in the boundary layer, generating one or more acoustic tones. The numerical simulation of such phenomenon requires, beside an accurate prediction of the unsteady flow field, a proper modelling of the laminar to turbulent transition of the boundary layer, which generally imposes the use of highly CPU demanding approaches such as large eddy simulation (LES) or direct numerical simulation (DNS). This paper aims at presenting the results of numerical experiments for evaluating the capability of capturing the tonal airborne noise by using an advanced, yet low computationally demanding, unsteady Reynolds-averaged Navier-Stokes (URANS) turbulence model augmented with a transitional model to account for the laminar to turbulent transition. This approach, coupled with the Ffowcs Williams and Hawkings (FW-H) acoustic analogy, is adopted for predicting the far-field acoustic sound pressure of a NACA 0012 aerofoil with Reynolds number ranging from 0.39 · 106 to 1.09 · 106. The results show a main tone located approximately at 1.6-1.8 kHz for a Reynolds number equal to 0.62 · 106, increasing to 2.4 kHz at Reynolds number equal to 0.85 · 106 and 3.4 kHz at 1.09 · 106, while no main tones are observed at 0.39 · 106. The computed spectra confirm that the acoustic emission of the aerofoil is dominated by tonal structures and that the frequency of the main tone depends on the Reynolds number consistently with the ladder-like tonal structure suggested by Paterson et al. Moreover, in specific conditions, the acoustic spectra exhibit a multi-tonal structure visible in narrowband spectra, in line with the findings of Arbey and Bataille. The presented results demonstrate the capability of the numerical model of predicting the physics of the tonal airborne noise generation.
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Dyachkov, V. V. "Verb paradigm in Tomo Kan Dogon: interconnections of polypredicative constructions, grammaticalization, and tonology." Sibirskiy filologicheskiy zhurnal, no. 2 (2021): 252–68. http://dx.doi.org/10.17223/18137083/75/18.
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The paper deals with the grammaticalization problems in Tomo Kan (Dogon family, Niger-Congo) and, in particular, with the diachronic relationship of polypredicative constructions and TAM markers. Dogon languages are characterized by TAM systems that seem to be dia-chronically unstable since markers with a similar range of meanings go back to different lexi-cal sources in different languages of the family. TAM markers are apparently associated with polypredicative constructions, which are very common in Dogon and preserve some of their morphosyntactic properties. At the same time, Dogon languages are characterized by complex tonal changes triggered not only by phonological context but also by the syntactic position of constituents. These tonal changes, frequently referred to as tonosyntax, accompany the formation of polypredicative constructions and other syntactic phenomena. A thorough inves-tigation of Tomo Kan TAM markers shows their tonosyntactic properties to resemble those of polypredicative constructions. Moreover, assuming that tonosyntax of polypredicative con-structions triggers certain tonal contour overlays, one can account for tonal alternations ob-served in TAM forms which would have been left otherwise unexplained. However, the anal-ysis also reveals that at least two classes of TAM forms must be distinguished in Tomo Kan: one of them inherits the tonosyntax of polypredicative constructions while the other does not. A hypothesis is put forward that the latter class has a different source of grammaticalization and is probably associated with verb stem incorporation rather than with polypredication. Methodologically, the paper shows a critical role of tonology in the analysis of grammaticalization processes in tonal languages.
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Gordon, Matthew. "A typology of contour tone restrictions." Studies in Language 25, no. 3 (December 31, 2001): 423–62. http://dx.doi.org/10.1075/sl.25.3.03gor.
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This paper presents results of a survey of contour tones in 105 languages with lexical tone. Results indicate an implicational hierarchy of tone bearing ability, whereby long vowels are most likely to carry contour tones, followed by syllables containing a short vowel plus a sonorant coda, followed by syllables containing a short vowel plus an obstruent coda, followed by open syllables containing a short vowel. It is claimed that this tonal hierarchy is phonetically motivated: syllable types which are phonetically better suited to carrying tonal information are more likely to support contour tones. Languages whose tone distributions superficially appear to fall outside the range of variation predicted on phonetic grounds are demonstrated, upon closer examination, to be unexceptional in their behavior.
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Corkeron, Peter J., and Sofie M. Van Parijs. "Vocalizations of eastern Australian Risso's dolphins, Grampus griseus." Canadian Journal of Zoology 79, no. 1 (January 1, 2001): 160–64. http://dx.doi.org/10.1139/z00-180.
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Recordings were made from a group of Risso's dolphins (Grampus griseus) off the coast of Newcastle, Australia, between 30 Hz and 22 kHz. Risso's dolphins exhibited seven separate vocalisation types: broadband clicks, barks, buzzes, grunts, chirps, whistles, and simultaneous whistle + burst-pulse sounds. Broadband clicks were highly variable in duration, with a frequency range of 6 to >22 kHz. Bark vocalisations consisted of highly variable burst pulses, with durations ranging from 0.2 to 7.4 s and a frequency range of 2-20 kHz. Buzz vocalisations were clearly stereotyped, consisting of a short burst pulse of around 2 s and a frequency range of 2.1 to >22 kHz. Low frequency narrowband grunt vocalisations (0.40.8 kHz) were short in duration. Chirp vocalisations were slightly higher in frequency than the grunt vocalisations, ranging in frequency from 2 to 4 kHz. There were at least five different whistle types, ranging in frequency from 4 to 22 kHz. We recorded a combined tonal and burst-pulse vocalisation. The rising whistles ranged from 6 to 18 kHz, while the burst-pulse sounds ranged between 3 and 21 kHz. This combined whistle + burst pulse sound appears to be unique to Risso's dolphins.
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Connell, Bruce, and David Zeitlyn. "Njerep a postcard from the edge." Studies in African Linguistics 29, no. 1 (June 1, 2000): 1–41. http://dx.doi.org/10.32473/sal.v29i1.107369.
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Kunama has been reported by different scholars as having two or three tones, downstep (or not), contrastive length of both consonants and vowels, and lexical stress. Despite this range of reported phenomena, little in-depth research into the prosodic system of Kunama has been undertaken. The aim of the present study is to report such a detailed investigation and to establish on a solid footing basic aspects of the tonal system of Kunama. The work reported is preliminary in the sense that its scope is limited: we present phonological and phonetic evidence for the existence of three level tones, which can combine to form a number of contour tones. This is followed by discussion of tonal phenomena in the noun phrase. No evidence for lexical stress is found.
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Dorta, Josefa, and María González Rodríguez. "Tonal Proximity Relationship in the Spanish of the Canary Islands in the Light of Dialectometry." Languages 4, no. 2 (May 27, 2019): 29. http://dx.doi.org/10.3390/languages4020029.
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Traditional linguistic geography has not dealt with issues relating to the prosodic study of languages and linguistic varieties. The international project AMPER (Atlas Multimédia Prosodique de l’Espace Roman) achieves a key milestone in this area by studying the prosody of Romance languages and varieties in order to disseminate research outcomes in the form of interactive online atlases. Using prosodic data from a wide corpus of declarative and interrogative sentences, obtained from a range of informants from the seven Canary Islands (AMPERCan), a dialectometric study was carried out with a tool especially designed within the framework of AMPER. Correlation values, dendrograms as well as multivariate analysis by means of the multidimensional scaling technique (MDS), have enabled us to establish relationships of close prosodic proximity among the Canary Islands.
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Peng, Wenjie, Kaiqi Fu, Wei Zhang, Yanlu Xie, and Jinsong Zhang. "A Study on the Robustness of Pitch-Range Estimation from Brief Speech Segments." International Journal of Asian Language Processing 30, no. 01 (March 2020): 2050003. http://dx.doi.org/10.1142/s2717554520500034.
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Pitch-range estimation from brief speech segments could bring benefits to many tasks like automatic speech recognition and speaker recognition. To estimate pitch range, previous studies have proposed to utilize deep-learning-based models with spectrum information as input. They demonstrated that such method works and could still achieve reliable estimation results when the speech segment is as brief as 300 ms. In this study, we evaluated the robustness of this method. We take the following scenarios into account: (1) a large number of training speakers; (2) different language backgrounds; and (3) monosyllabic utterances with different tones. Experimental results showed that: (1) The use of a large number of training speakers improved the estimation accuracies. (2) The mean absolute percentage error (MAPE) rate evaluated on the L2 speakers is similar to that on the native speakers. (3) Different tonal information will affect the LSTM-based model, but this influence is limited compared to the baseline method which calculates pitch-range targets from the distribution of [Formula: see text]0 values. These experimental results verified the efficiency of the LSTM-based pitch-range estimation method.
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Frankland, Bradley W., and Annabel J. Cohen. "Parsing of Melody: Quantification and Testing of the Local Grouping Rules of Lerdahl and Jackendoff's A Generative Theory of Tonal Music." Music Perception 21, no. 4 (June 1, 2004): 499–543. http://dx.doi.org/10.1525/mp.2004.21.4.499.
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In two experiments, the empirical parsing of melodies was compared with predictions derived from four grouping preference rules of A Generative Theory of Tonal Music (F. Lerdahl & R. Jackendoff, 1983). In Experiment 1 (n = 123), listeners representing a wide range of musical training heard two familiar nursery-rhyme melodies and one unfamiliar tonal melody, each presented three times. During each repetition, listeners indicated the location of boundaries between units by pressing a key. Experiment 2 (n = 33) repeated Experiment 1 with different stimuli: one familiar and one unfamiliar nursery-rhyme melody, and one unfamiliar, tonal melody from the classical repertoire. In all melodies of both experiments, there was good within-subject consistency of boundary placement across the three repetitions (mean r = .54). Consistencies between Repetitions 2 and 3 were even higher (mean r = .63). Hence, Repetitions 2 and 3 were collapsed. After collapsing, there was high between-subjects similarity in boundary placement for each melody (mean r = .62), implying that all participants parsed the melodies in essentially the same (though not identical) manner. A role for musical training in parsing appeared only for the unfamiliar, classical melody of Experiment 2. The empirical parsing profiles were compared with the quantified predictions of Grouping Preference Rules 2a (the Rest aspect of Slur/Rest), 2b (Attack-point), 3a (Register change), and 3d (Length change). Based on correlational analyses, only Attack-point (mean r = .80) and Rest (mean r = .54) were necessary to explain the parsings of participants. Little role was seen for Register change (mean r = .14) or Length change (mean r = ––.09). Solutions based on multiple regression further reduced the role for Register and Length change. Generally, results provided some support for aspects of A Generative Theory of Tonal Music, while implying that some alterations might be useful.
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Papoušek, Mechthild, and Shu-Fen C. Hwang. "Tone and intonation in Mandarin babytalk to presyllabic infants: Comparison with registers of adult conversation and foreign language instruction." Applied Psycholinguistics 12, no. 4 (December 1991): 481–504. http://dx.doi.org/10.1017/s0142716400005889.
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ABSTRACTSix native speakers of Mandarin Chinese recorded 140 preselected utterances in three role-play contexts that differentially elicited registers of babytalk to presyllabic infants (BTP), foreign language instruction (FLI), and adult conversation (AC). Sound spectrograms were used to obtain 10 measures of fundamental frequency (Fo) patterns for comparisons among the three registers. In FLI, the speakers expanded Fo patterns in time and Fo range in comparison with AC. They clarified lexical tonal information and seemed to reduce suprasegmental information. In BTP, the speakers raised peak and minimum Fo, reduced the rate of Fo fluctuations, and increased the proportion of terminal rising contours. The speakers reduced, neglected, or modified lexical tonal information in favor of simplified and clarified intonation contours. The significance of the results is discussed in relation to tone acquisition in children and to a universal intuitive didactic competence in caretakers.
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Schoisswohl, Stefan, Johannes Arnds, Martin Schecklmann, Berthold Langguth, Winfried Schlee, and Patrick Neff. "Amplitude Modulated Noise for Tinnitus Suppression in Tonal and Noise-Like Tinnitus." Audiology and Neurotology 24, no. 6 (2019): 309–21. http://dx.doi.org/10.1159/000504593.
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Background: The phenomenon of short-term tinnitus suppression by different forms of acoustic stimulation is referred to as residual inhibition (RI). RI can be triggered in the majority of tinnitus cases and was found to be depending on the used intensity, length or types of sounds. Past research already stressed the impact of noise stimulation as well as the superiority of amplitude modulated (AM) pure tones at the individual tinnitus frequency for RI in tonal tinnitus. Recently a novel approach for the determination of noise-like tinnitus characteristics was proposed. Objectives: The aim of the present study was to investigate whether in participants with noise-like tinnitus RI can be increased by AM noise stimuli according to the individual tinnitus frequency range. Methods: For this purpose the individual tinnitus characteristics (noise-like and tonal tinnitus) of 29 people affected by tinnitus (mean age = 55.59, 7 females, mean tinnitus duration = 159.97 months) were assessed via customizable noise-band matching. The objective was to generate bandpass filtered stimuli according to the individual tinnitus sound (individualized bandpass filtered [IBP] sounds). Subsequently, various stimuli differing in bandpass filtering and AM were tested with respect to their potential to induce RI. Participants were acoustically stimulated with 7 different types of stimuli for 3 min each and had to rate the loudness of their tinnitus after each stimuli. Results: Results indicate a general efficacy of noise stimuli for the temporary suppression of tinnitus, but no significant differences between AM and unmodulated IBP. Significantly better effects were observed for the subgroup with noise-like tinnitus (n = 14), especially directly after stimulation offset. Conclusions: The study at hand provides further insights in potential mechanisms behind RI for different types of tinnitus. Beyond that, derived principles may qualify for new or extend current tinnitus sound therapies.
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Рыжкова, Наталия Павловна. "On the Role of “Significant Tonalities” (tonalites significatives) in the Compositions for Musical Theater by Vincent d’Indy." Научный вестник Московской консерватории, no. 2(45) (June 23, 2021): 124–35. http://dx.doi.org/10.26176/mosconsv.2021.45.2.006.
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Статья посвящена анализу тональных связей в следующих музыкально-драматических произведениях Венсана д’Энди: драматической легенде «Песнь о колоколе» и трех операх - «Фервааль», «Чужестранец» и «Легенда о святом Христофоре». Одним из ключевых композиционных аспектов любого сочинения, по мнению д’Энди, является конструктивный принцип, основанный на повторении тональностей с закрепленной семантикой («значимых тональностей»), который композитор выводит из анализа ораторий С. Франка и драм Р. Вагнера, а затем применяет в своих опусах. Уже в «Песни о колоколе» наблюдается определенный спектр тональностей, которые в дальнейшем приобретут устойчивую семантику в трех «вагнерианских» операх. В каждом последующем произведении система тональных соотношений разветвляется и усложняется, что позволяет композитору предельно точно отобразить символический смысл происходящего на сцене. Помимо применения «значимых тональностей», д’Энди формирует систему тональных центров, которая полностью отражает драматургию оперы. В последней вагнерианской опере «Легенда о святом Христофоре» наравне с определенным кругом тональностей существенное значение приобретают различные ладовые структуры. Их семантическая составляющая может послужить предметом отдельного исследования. The article explores tonal relations in the following works for musical theater by Vincent d’Indy: the dramatic legend Le chant de la cloche and three operas - Fervaal, L ’Etranger and La Legende de Saint-Christophe. According to d’Indy, one of the key compositional aspects of any musical piece is a structural principle based on repetition of tonalities with established semantics. Thus, based on the research of tonal structure of Franck’s oratorio compositions and Wagner’s musical dramas, d’Indy elaborates a special concept of significant tonalities and applies it in his works. Already in Le chant de la cloche, a certain range of tonalities can be found, which in future will acquire stable semantics in three “Wagnerian” operas. In each subsequent work, the system of tonal relations grows and becomes more complicated, which allows the composer to display the symbolic meaning of what is happening on stage with the utmost precision. In addition to the use of significant tonalities, d’Indy forms a system of tonal centers that fully reflects the dramaturgy of an opera. In the last “Wagnerian” opera La Legende de Saint-Christophe, along with a certain range of tonalities, various modal structures acquire significant importance. Their semantic component can be the subject of a separate study.
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Arun, M. G., and T. J. S. Jothi. "Aerodynamic noise characteristics of the flow past a circular cylinder." Noise Control Engineering Journal 68, no. 5 (September 1, 2020): 328–38. http://dx.doi.org/10.3397/1/376828.
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The present study experimentally investigates the aerodynamic noise from the flow past a fixed circular cylinder. The cylinders considered for the study have the diameters (d) in the range of 6 to 25 mm while its span length (L) is constant, which is 300 mm. The free stream velocity is varied up to 50 m/s, and the corresponding Reynolds number (based on d) varies up to 8.3 104, thus maintaining the flow past the cylinder in the subcritical regime. The discrete narrowband frequency tones depicting the aeolian tones are noted in the spectra. The results showed that the aeolian tone frequency decreases with an increase in the cylinder diameter and ceases to exist beyond the diameter of 15 mm. The corresponding Strouhal number of these tones is found to be in the range of 0.18 to 0.21, which is in congruence with the vortex shedding frequency in the subcritical regime. The maximum overall sound pressure level for cylinders having tonal noise is higher by around 30 dB compared to the background noise. Directivity studies show that the noise level is higher along the perpendicular direction of the jet flow. A sixth power Mach number scaling of the acoustic spectra shows a good collapse of the acoustic tonal amplitude.
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Savchenko, Yevgenia. "FOCALIZATION AS LINGUISTIC PHENOMENON." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 26, no. 27 (February 2019): 181–88. http://dx.doi.org/10.24195/2616-5317-2018-27-21.
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The article reveals the principal notions of focalization, its functions and features (emphasis and contrast) and their influence on transforming the model of the prosodic structure of the actual division of the utterance. Most frequently, focalization of a text fragment is prosodically expressed with a high register and extension of the tonal range, a raised loudness and a distinct pronunciation. It is established that one of the most well-known factors of the transformation of the prototype prosodic model is the listener’s focus on the most important aspects of the message, the conveyance of the semantic interaction of the message’s specific aspects. Focalization is interwoven with the both possible manifestations of this function: logical stress (in case of the opposition of words) or emphatic stress is implemented by its means. Regarding the changes in the tone direction, it should be noted that this tonal feature does not participate directly in forming an intonation model of the discourse’s focalized structures. It has been observed that there exists a certain modification of the tonal contour formed under the influence of the illocutionary and phase factors and certain types of the subjective-modal meanings. Key words: emphasis, opposition, focalization, actual division of the utterance, theme, rheme.
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Ferreyra, E., and L. E. Murr. "Dislocation Substructure Contributions to the Tonal Qualities of the Caribbean Steel Drum - A TEM Study." Microscopy and Microanalysis 5, S2 (August 1999): 856–57. http://dx.doi.org/10.1017/s1431927600017608.
Full textAbstract:
Deformation substructures, especially dislocations, play an important role in the fabrication of the Caribbean steel drum and experimental evidence also suggests dislocations play a crucial role in the harmonic tuning and related musical qualities as well. In this study, we have examined and compared the dislocation substructures in high-quality, low-carbon (0.04-0.06 weight percent carbon) steel drum heads as manufactured, and sections cut from variously deformed (10% to 50% reduction) drum head sections, including those patterned with musical notes and heat treated; utilizing TEM.We have recently shown that the requisite heating of a steel drum over a narrow temperature range (200 to 500°C) prior to tuning actually involves strain aging. Fundamentally, strain aging in steels has been explained by dislocation theory, but as far as we know, no experimental proof exists. This study also attempts to examine the more fundamental issues in strain aging, especially as it applies in the development of a high-quality, musical steel drum instrument.
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Mendes, Francisco D. C., and César Ades. "Vocal sequential exchanges and intragroup spacing in the Northern Muriqui Brachyteles arachnoides hypoxanthus." Anais da Academia Brasileira de Ciências 76, no. 2 (June 2004): 399–404. http://dx.doi.org/10.1590/s0001-37652004000200032.
Full textAbstract:
Sequential exchanges of vocalizations (staccatos and neighs) emitted by Northern Muriquis Brachyteles arachnoides hypoxanthus were recorded at the Biological Station of Caratinga, Minas Gerais State, Brazil. Staccatos and neighs containing larger proportion of short elements were preferentially produced during short-range exchanges; neighs, produced by a larger number of participants, were typical of long-range exchanges. Staccatos emitted by animals feeding in a dispersed manner contained a larger proportion of tonal elements than those emitted by muriquis feeding in a cohesive manner. Sequential exchanges seem thus to be constituted by two inter-related subsystems of calls that aid muriquis to coordinate intragroup spacing, despite the poor visibility of the habitat.