Relevant bibliographies by topics / Tone production

Contents

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

Academic literature on the topic 'Tone production'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Tone production"

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Wong, Puisan, and Carrie Tsz-Tin Leung. "Suprasegmental Features Are Not Acquired Early: Perception and Production of Monosyllabic Cantonese Lexical Tones in 4- to 6-Year-Old Preschool Children." Journal of Speech, Language, and Hearing Research 61, no. 5 (May 17, 2018): 1070–85. http://dx.doi.org/10.1044/2018_jslhr-s-17-0288.

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Purpose Previous studies reported that children acquire Cantonese tones before 3 years of age, supporting the assumption in models of phonological development that suprasegmental features are acquired rapidly and early in children. Yet, recent research found a large disparity in the age of Cantonese tone acquisition. This study investigated Cantonese tone development in 4- to 6-year-old children. Method Forty-eight 4- to 6-year-old Cantonese-speaking children and 28 mothers of the children labeled 30 pictures representing familiar words in the 6 tones in a picture-naming task and identified pictures representing words in different Cantonese tones in a picture-pointing task. To control for lexical biases in tone assessment, tone productions were low-pass filtered to eliminate lexical information. Five judges categorized the tones in filtered stimuli. Tone production accuracy, tone perception accuracy, and correlation between tone production and perception accuracy were examined. Results Children did not start to produce adultlike tones until 5 and 6 years of age. Four-year-olds produced none of the tones with adultlike accuracy. Five- and 6-year-olds attained adultlike productions in 2 (T5 and T6) to 3 (T4, T5, and T6) tones, respectively. Children made better progress in tone perception and achieved higher accuracy in perception than in production. However, children in all age groups perceived none of the tones as accurately as adults, except that T1 was perceived with adultlike accuracy by 6-year-olds. Only weak association was found between children's tone perception and production accuracy. Conclusions Contradicting to the long-held assumption that children acquire lexical tone rapidly and early before the mastery of segmentals, this study found that 4- to 6-year-old children have not mastered the perception or production of the full set of Cantonese tones in familiar monosyllabic words. Larger development was found in children's tone perception than tone production. The higher tone perception accuracy but weak correlation between tone perception and production abilities in children suggested that tone perception accuracy is not sufficient for children's tone production accuracy. The findings have clinical and theoretical implications.
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Wong, Puisan, Richard G. Schwartz, and James J. Jenkins. "Perception and Production of Lexical Tones by 3-Year-Old, Mandarin-Speaking Children." Journal of Speech, Language, and Hearing Research 48, no. 5 (October 2005): 1065–79. http://dx.doi.org/10.1044/1092-4388(2005/074).

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The present study investigated 3-year-old children's perception and production of Mandarin lexical tones in monosyllabic words. Thirteen 3-year-old, Mandarin-speaking children participated in the study. Tone perception was examined by a picture-pointing task, and tone production was investigated by picture naming. To compare children's productions with the adult forms, 4 mothers of the children were asked to say the same set of words to their children in a picture-reading activity. The children's and mothers' productions were low-pass filtered at 500 Hz and 400 Hz, respectively, to eliminate segmental information. Ten Mandarin-speaking judges identified the productions of tones from the filtered speech. Adult productions were more accurately identified than productions of the children. The children perceived the level, rising, and falling tones with relatively high accuracy. The dipping tone posed the greatest difficulty for the children in both perception and production.
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Svantesson, Jan-Olof, and David House. "Tone production, tone perception and Kammu tonogenesis." Phonology 23, no. 02 (August 2006): 309–33. http://dx.doi.org/10.1017/s0952675706000923.

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Yao, Yao, Angel Chan, Roxana Fung, Wing Li Wu, Natalie Leung, Sarah Lee, and Jin Luo. "Cantonese tone production in pre-school Urdu–Cantonese bilingual minority children." International Journal of Bilingualism 24, no. 4 (November 1, 2019): 767–82. http://dx.doi.org/10.1177/1367006919884659.

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Aim: In this study, we examine the production of Cantonese tones by preschool Urdu–Cantonese children living in Hong Kong. Methodology: 21 first language Urdu second language Cantonese children (ages 4–6) and 20 age-matched first language Cantonese children participated in a picture-naming experiment with 86 words (109 syllables in total). Data and Analysis: Acoustic analysis was carried out for perceptually correct and incorrect tone productions of each tone. Comparisons were also made across speaker groups regarding accuracy rates and error patterns. Findings: Overall, first-language Urdu participants had lower accuracy and greater tone confusion than first language Cantonese participants. The pattern is attributable to influence from Urdu prosody, ongoing Cantonese tone mergers, and general sensitivity to phonetic information. Originality: This is the first empirical study on the acquisition of Cantonese tones by children who are heritage speakers of a non-tone language. Significance: This study extends the literature of early bilingual phonology by furthering our understanding of an under-studied bilingual population, that is, heritage children of a non-tone language acquiring a tone language as the majority language. The findings of this study also produce implications for the practice of language educators and speech therapy professionals working with bilingual children.
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Zhang, Caicai, Oi-Yee Ho, Jing Shao, Jinghua Ou, and Sam-Po Law. "Dissociation of tone merger and congenital amusia in Hong Kong Cantonese." PLOS ONE 16, no. 7 (July 1, 2021): e0253982. http://dx.doi.org/10.1371/journal.pone.0253982.

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While the issue of individual variation has been widely studied in second language learning or processing, it is less well understood how perceptual and musical aptitude differences can explain individual variation in native speech processing. In the current study, we make use of tone merger in Hong Kong Cantonese, an ongoing sound change that concerns the merging of tones in perception, production or both in a portion of native speakers, to examine the possible relationship between tone merger and musical and pitch abilities. Although a previous study has reported the occurrence of tone merger independently of musical training, it has not been investigated before whether tone-merging individuals, especially those merging tones in perception, would have inferior musical perception and fine-grained pitch sensitivities, given the close relationship of speech and music. To this end, we tested three groups of tone-merging individuals with various tone perception and production profiles on musical perception and pitch threshold tasks, in comparison to a group of Cantonese speakers with congenital amusia, and another group of controls without tone merger or amusia. Additionally, the amusics were compared with tone-merging individuals on the details of their tone discrimination and production profiles. The results showed a clear dissociation of tone merger and amusia, with the tone-merging individuals exhibiting intact musical and pitch abilities; on the other hand, the amusics demonstrated widespread difficulties in tone discrimination yet intact tone production, in contrast to the highly selective confusion of a specific tone pair in production or discrimination in tone-merging individuals. These findings provide the first evidence that tone merger and amusia are distinct from each other, and further suggest that the cause of tone merger may lie elsewhere rather than being driven by musical or pitch deficits. We also discussed issues arising from the current findings regarding the neural mechanisms of tone merger and amusia.
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Köhnlein, Björn. "The complex durational relationship of contour tones and level tones." Diachronica 32, no. 2 (October 15, 2015): 231–67. http://dx.doi.org/10.1075/dia.32.2.03koh.

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The production of a contour tone requires a longer duration than the production of a level tone. This paper demonstrates that this durational relationship becomes considerably more complex when tones are realized on bimoraic sonorant units that can support both level tones and contour tones. Evidence comes from diachronic processes in which pitch and duration interact. In languages where (intrinsic) durational differences between two groups of bimoraic units lead to tonal contrasts, the longer units commonly receive a contour tone, and the shorter ones a level tone; yet over time, the units with the fully developed contour tone tend to shorten, and those with the level tone tend to lengthen. Ultimately, this can even lead to durational reversals between the units in question. The discussion focuses primarily on Franconian tone accent dialects but also incorporates data from Estonian, Hup, Las Norias Piman and North Low Saxon.
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Yang, Chunsheng. "Tone errors in scripted conversations of L2 Mandarin Chinese." Chinese as a Second Language Research 5, no. 1 (May 1, 2016): 63–86. http://dx.doi.org/10.1515/caslar-2016-0003.

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AbstractThis study examines the acquisition of Mandarin tones by American English speaking second language (L2) learners. Three types of tone sequences, namely, compatible tone sequences, conflicting tone sequences, and other tone sequences, were used. The analysis of tone errors in different tone sequences showed that, while learners seemed to have acquired the Tone 3 and its sandhi, they tended to over-apply the sandhi rule in inappropriate contexts and produced tone errors. More importantly, the low and rising tones, which are generally difficult for L2 learners to produce, were the most frequent tones produced to replace other tones. More specifically, the low tone errors tended to occur at the phrase-medial position, while the rising tone errors tended to occur at the phrase-initial position. The low and rising tone errors were attributed to the difficulty in quickly changing tone targets and F0 direction in tone production, which is the product of the superimposition of English prosody.
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Andruski, Jean E., and Martha Ratliff. "Phonation types in production of phonological tone: the case of Green Mong." Journal of the International Phonetic Association 30, no. 1-2 (December 2000): 37–61. http://dx.doi.org/10.1017/s0025100300006654.

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This study looks at the relative importance of phonation type in identifying tones in languages with a ‘mixed’ pitch/phonation tone system. Green Mong is a tone language with an inventory of 7 contrastive tones and a tonal system that incorporates both fundamental frequency (FO) and phonation type distinctions. The study examines 3 Green Mong tones, which have similar FO contours and are characterized by the distinctive use of breathy, creaky and modal phonation. Acoustic analyses of 3 male and 3 female speakers' productions indicate that the tones are distinguished by their FO, relative amplitude of lower and higher harmonics (H1-H2), vowel duration, vowel quality and voice onset times. Discriminant analyses, used to estimate the relative value of these different cues, indicate that H1-H2 is the best predictor of tone category membership. This is the case for both high and low vowels, although the magnitude of the H1-H2 difference is substantially smaller for high vowels. The 2 predictor variables which are next most strongly correlated with the discriminant functions also relate to phonation type. However, FO does continue to play a role in classification of tokens into tone categories.
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Lee, Yong-cheol, and Sunghye Cho. "Focus Prosody Varies by Phrase-Initial Tones in Seoul Korean: Production, Perception, and Automatic Classification." Languages 5, no. 4 (November 18, 2020): 64. http://dx.doi.org/10.3390/languages5040064.

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Production and perception experiments were conducted to examine whether focus prosody varies by phrase-initial tones in Seoul Korean. We also trained an automatic classifier to locate prosodic focus within a sentence. Overall, focus prosody in Seoul Korean was weak and confusing in production, and poorly identified in perception. However, Seoul Korean’s focus prosody differed between phrase-initial low and high tones. The low tone group induced a smaller pitch increase by focus than the high tone group. The low tone group was also subject to a greater degree of confusion, although both tone groups showed some degree of confusion spanning the entire phrase as a focus effect. The identification rate was, therefore, approximately half in the low tone group (23.5%) compared to the high tone group (40%). In machine classification, the high tone group was also more accurately identified (high: 86% vs. low: 68%) when trained separately, and the machine’s general performance when the two tone groups were trained together was much superior to the human’s (machine: 65% vs. human: 32%). Although the focus prosody in Seoul Korean was weak and confusing, the identification rate of focus was higher under certain circumstances, which avers that focus prosody can vary within a single language.
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Mok, Peggy P. K., Donghui Zuo, and Peggy W. Y. Wong. "Production and perception of a sound change in progress: Tone merging in Hong Kong Cantonese." Language Variation and Change 25, no. 3 (September 27, 2013): 341–70. http://dx.doi.org/10.1017/s0954394513000161.

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AbstractCantonese has six lexical tones (T), but some tone pairs appear to be merging: T2 [25] vs. T5 [23], T3 [33] vs. T6 [22], and T4 [21] vs. T6 [22]. Twenty-eight merging participants and thirty control participants in Hong Kong were recruited for a perception experiment. Both accuracy rate and reaction time data were collected. Seventeen merging participants also participated in a production experiment. Predictive discriminant analysis of the fundamental frequency data and judgments by native transcribers were used to assess production accuracy. Results show that the merging participants still had six tone categories in production, although their “tone space” was more reduced. Tones with lower type frequency were more prone to change. The merging group was significantly slower in tone perception than the control group was. In illustrating the patterns of the ongoing tone merging process in Cantonese, this study contributes to a better understanding of the forces of sound change in general.
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Dissertations / Theses on the topic "Tone production"

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Chow, Tak-yu David. "Lexical tone production in Cantonese alaryngeal speech." Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/hkuto/record/B36209612.

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Thesis (B.Sc)--University of Hong Kong, 1998.
"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, April 30, 1998." Also available in print.
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Mar, Li-Ya. "covert contrast| The acquisition of Mandarin tone 2 and tone 3 in L2 production and perception." Thesis, The University of Wisconsin - Milwaukee, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10123605.

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This dissertation investigates the occurrence of an intermediate stage, termed a covert contrast, in the acquisition of Mandarin Tone 2 (T2) and Tone 3 (T3) by adult speakers of American English. A covert contrast is a statistically reliable distinction produced by language learners that is not perceived by native speakers of the target language (TL). In second language (L2) acquisition, whether a learner is judged as having acquired a TL phonemic contrast has largely depended on whether the contrast was perceived and transcribed by native speakers of the TL. However, categorical perception has shown that native listeners cannot perceive a distinction between two sounds that fall within the same perceptual boundaries on the continuum of the relevant acoustic cues. In other words, it is possible that native speakers of the TL do not perceive a phonemic distinction that is produced by L2 learners when that distinction occurs within a phonemic boundary of TL.

The data for the study were gathered through two elicitations of tone production, a longitudinal analysis, and two perception tasks. There were three key findings. First, both elicitations showed that most of the L2 participants produced a covert contrast between T2 and T3 on at least one of the three acoustic measures used in the study. Second, the longitudinal analysis reveals that some L2 participants progressed from making a covert contrast to a later stage of implementing an overt one, thereby supporting the claim that making a covert contrast is an intermediate stage in the process of acquiring a L2 phonemic contrast. Third, results of the perceptual tasks showed no reliable difference in identifying and discriminating Mandarin T2 and T3 on the part of the L2 learners who produced a covert contrast and those who produced an overt contrast, indicating that there was no reliable difference in the two groups’ ability to perceive the target tones.

In all, the occurrence of a covert contrast in the process of acquiring Mandarin T2 and T3 suggests that L2 acquisition of a tonal contrast is a gradient process, one in which an intermediate step occurs before a L2 learner reaches the final stage of implementing an overt contrast that is perceived as target-like by the native speakers of the TL.

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Hamilton, James R. "Optimizing tone production on a 300 spot per inch laser printer /." Online version of thesis, 1988. http://hdl.handle.net/1850/10123.

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Schwanhäu[beta]er, Barbara. "Lexical tone perception and production the role of language and musical background /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/31791.

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Thesis (Ph.D.) -- University of Western Sydney, 2007.
"A thesis submitted to the University of Western Sydney, College of Arts, MARCS Auditory Laboratories in fulfilment of the requirements for the degree of Doctor of Philosophy." Includes bibliography.
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Yang, Bei. "A model of Mandarin tone categories--a study of perception and production." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/764.

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The current study lays the groundwork for a model of Mandarin tones based on both native speakers' and non-native speakers' perception and production. It demonstrates that there is variability in non-native speakers' tone productions and that there are differences in the perceptual boundaries in native speakers and non-native speakers. There are four experiments in this study. Experiment 1 utilizes native speakers' production data from a published speech database to explore the features of tone production by native speakers. Inter-speaker normalization is used to analyze the data. Experiment 2 synthesizes 81 tones that are carried by four sentences to measure perception by native and non-native speakers. The intra-speaker and inter-speaker normalization is used to investigate the perceptual space of T1, T2, T3, and T4. The researcher also explores the salient features distinguish native speakers' and non-native speakers' perception of the four principal tones. Experiment 3 uses both synthesized tones and natural tones that are carried by sentences to explore how pitch values of tones create overlapping areas in the perceptual map. Experiment 4 examines tone production by non-native speakers to identify the differences between native speakers' perception and non-native speakers' production; and the differences between non-native speakers' perception and their production of tones. The results of the perception and production experiments with native speakers show the perceptual boundaries and tonal categories in the perceptual space and the production space. The difference of native speakers' perception and production shows us the perceptual cue for perception. Meanwhile, the similarities of native speakers' perception and production reveal the acoustic cues, including register and contour, for tone perception and production. The results of the perception experiments with non-native speakers indicate that there are no clear boundaries, and that tone overlap in the perceptual space. Register plays an important role in the perception of tones by non-native speakers. The results of non-native speaker production also show overlapping tones in the acoustic space. The non-native speaker production appears to be determined by the contour of the tones in contrast both the contour and register determine the tonal categories of native speaker.
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Wilcocks, Gerda Reinette. "Improving tone production on the flute with regards to embouchure, lip flexibility, vibrato and tone colour, as seen from a classical music perspective." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09132007-163345/.

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Law, Choi-hung Rainbow. "The effect of sentence context on the production of the Cantonese low-rising tone." Click to view the E-thesis via HKUTO, 2001. http://sunzi.lib.hku.hk/hkuto/record/B36207962.

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Thesis (B.Sc)--University of Hong Kong, 2001.
"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, May 4, 2001." Also available in print.
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Zintchenko, Jurlina Jevgenij [Verfasser], Henning [Gutachter] Reetz, and Sven [Gutachter] Grawunder. "The production of lexical tone in Croatian / Jevgenij Zintchenko Jurlina ; Gutachter: Henning Reetz, Sven Grawunder." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2019. http://d-nb.info/1189728931/34.

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Lee, Kit-ching Angela. "Tone production ability in Cantonese-speaking hearing-impaired children with cochlear implants or hearing aids." Click to view the E-thesis via HKU Scholars Hub, 2007. http://lookup.lib.hku.hk/lookup/bib/B42005632.

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Thesis (B.Sc)--University of Hong Kong, 2007.
"A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2007." Includes bibliographical references (p. 26-30). Also available in print.
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Thom, Lisa. "An overview of traditional and modern flutes with regard to material, construction and tone production." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8152.

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Includes abstract.
Includes bibliographical references.
The first flutes were made in prehistoric times when a caveman decided to hollow out a bone, pierce a small hole in it and blow in it in a particular way to make a sound. Since then different cultures from all over the world have made many different types of flutes. They are shaped differently, held differently and played in various ways, but the one thing they all have in common is that they are all hollow objects that produce a sound when the player blows air across a hole; this airstream oscillates - it either goes entirely into the hole or entirely out of the hole. This oscillation creates the vibration necessary to produce a sound, with the tube as a resonator. The airstream is either directed across the edge by the player's lips (transverse flute), or it is blown through a mouthpiece that channels the air across an edge (recorder). In both cases the air column passes through a hollow body where it vibrates to produce a note.
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Books on the topic "Tone production"

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Tone production on the classical guitar. London: Musical New Services/Music Sales Ltd, 1990.

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Vandermotten, Christian. La production des espaces économiques. Tome I. 2nd ed. Bruxelles: Éditions de l'Universite de Bruxelles, 2003.

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Vandermotten, Christian. La production des espaces économiques: La formation des territoires, Tome II. Bruxelles: Editions de l'Université de Bruxelles, 2014.

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Marowitz, Charles. How to stage a play, make a fortune, win a Tony, and become a theatrical icon. Pompton Plains, NJ: Limelight Editions, 2005.

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Vandermotten, Christian. La production des espaces économiques: La formation du système monde, Tome I. Bruxelles: Editions de l'Université de Bruxelles, 2014.

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Yang, Bei. Perception and Production of Mandarin Tones by Native Speakers and L2 Learners. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-44645-4.

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1948-, Gatlif Tony, ed. "Latcho drom": Bonne route : un film de Tony Gatlif. [Paris] (3 rue Courat, 75020): K.G. Productions, 1993.

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1930-, Satō Tadao, ed. Tong Asia hapchak tanp'yŏn yŏnghwa chejak saŏp ŭi kyoyuk sŏngkwa wa chŏnmang. Sŏul T'ŭkpyŏlsi: Han'guk Yesul Yŏn'guso, 2012.

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Xin neng yuan gong dian xi tong you hua kong zhi. Beijing: Dian zi gong ye chu ban she, 2012.

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Xiong qi bao qi: Gu dai qing tong zhu zao shu = Techniques of ancient bronze production. Beijing: Wen wu chu ban she, 2008.

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Book chapters on the topic "Tone production"

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MacLeod, Rebecca B. "Tone Production." In Teaching Strings in Today’s Classroom, 67–80. New York ; London : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351254144-7.

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Wang, Yue, Joan A. Sereno, and Allard Jongman. "Multi-Modal Perception of Tone." In Speech Perception, Production and Acquisition, 159–73. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7606-5_9.

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Ingvalson, Erin M., and Patrick C. M. Wong. "Individual Differences in Lexical Tone Learning." In Speech Perception, Production and Acquisition, 59–75. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7606-5_4.

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Chang, Claire H. C., and Wen-Jui Kuo. "Neural Processing of Tone Sandhi in Production and Perception: The Case of Mandarin Tone 3 Sandhi." In Speech Perception, Production and Acquisition, 117–35. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7606-5_7.

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Lee, Chia-Ying, and Ying-Ying Cheng. "Neurophysiological Studies of Mandarin Lexical Tone Acquisition in Early Childhood." In Speech Perception, Production and Acquisition, 101–16. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7606-5_6.

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Yang, Yongkai, and Ying Chen. "Effects of Entering Tone on Vowel Duration and Formants in Nanjing Dialect." In Studies on Speech Production, 146–57. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00126-1_14.

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Gao, Jun, and Aijun Li. "Production of Neutral Tone on Disyllabic Words by Two-Year-Old Mandarin-Speaking Children." In Studies on Speech Production, 89–98. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00126-1_9.

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Pfeifle, Florian, and Malte Münster. "Tone Production of the Wurlitzer and Rhodes E-Pianos." In Current Research in Systematic Musicology, 75–107. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47292-8_3.

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Ong, Jia Hoong, Shen Hui Tan, Alice H. D. Chan, and Francis C. K. Wong. "The Effect of Musical Experience and Congenital Amusia on Lexical Tone Perception, Production, and Learning: A Review." In Speech Perception, Production and Acquisition, 139–58. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7606-5_8.

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Giles, T. D., and G. E. Sander. "Production by Systemic Enkephalin of Hemodynamic Effects by Afferent Modulation of Autonomic Nervous System Tone." In Opioid Peptides and Blood Pressure Control, 212–18. Berlin, Heidelberg: Springer Berlin Heidelberg, 1988. http://dx.doi.org/10.1007/978-3-642-73429-8_23.

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Conference papers on the topic "Tone production"

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Ferradans, Sira, Marcelo Bertalmío, Edoardo Provenzi, and Vicent Caselles. "A Multi-Modal Approach to Perceptual Tone Mapping." In 2009 Conference for Visual Media Production (CVMP). IEEE, 2009. http://dx.doi.org/10.1109/cvmp.2009.16.

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Gao, Xihe, Stephen Brooks, and Dirk V. Arnold. "Saliency-based parameter tuning for tone mapping." In CVMP '14: 11th European Conference on Visual Media Production. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2668904.2668939.

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DiCanio, Christian, and Hosung Nam. "Articulatory parameterization in Trique tone production: Distinguishing co-production from coarticulation." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4800638.

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Acharyya, Prarthana, and Shakuntala Mahanta. "Production and perception of lexical tone in Deori." In TAL2018, Sixth International Symposium on Tonal Aspects of Languages. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/tal.2018-19.

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Zhai, Jiefu, Joan Llach, and Zhe Wang. "A New Tone Mapping Workflow for High Dynamic Range Content." In 2009 Conference for Visual Media Production (CVMP). IEEE, 2009. http://dx.doi.org/10.1109/cvmp.2009.25.

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Granados, Miguel, Tunç Ozan Aydın, J. Rafael Tena, Jean-François Lalonde, and Christian Theobalt. "HDR image noise estimation for denoising tone mapped images." In CVMP 2015: 12th International Conference on Visual Media Production. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2824840.2824847.

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Lalhminghlui, Wendy, and Priyankoo Sarmah. "Production and Perception of Rising Tone Sandhi in Mizo." In TAL2018, Sixth International Symposium on Tonal Aspects of Languages. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/tal.2018-23.

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Tu, Jung-Yueh, Yuwen Hsiung, Jih-Ho Cha, Min-Da Wu, and Yao-Ting Sung. "Tone production of Mandarin disyllabic words by Korean learners." In Speech Prosody 2016. ISCA, 2016. http://dx.doi.org/10.21437/speechprosody.2016-77.

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Ma, Joan Ka-Yin. "Lexical tone production by Cantonese speakers with parkinson's disease." In Interspeech 2009. ISCA: ISCA, 2009. http://dx.doi.org/10.21437/interspeech.2009-511.

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Peng, Yide. "Tone Application Principles and Use Skills in Computer Music Production." In 2017 4th International Conference on Education, Management and Computing Technology (ICEMCT 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icemct-17.2017.238.

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Reports on the topic "Tone production"

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Amzeri, Achmad, B. S. DARYONO, and M. SYAFII. GENOTYPE BY ENVIRONMENT AND STABILITY ANALYSES OF DRYLAND MAIZE HYBRIDS. SABRAO Journal of Breeding and Genetics, September 2020. http://dx.doi.org/10.21107/amzeri.2020.2.

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The phenotypic analysis of new candidate varieties at multiple locations could provide information on the stability of their genotypes. We evaluated the stability of 11 maize hybrid candidates in five districts in East Java Province, Indonesia. Maize hybrids with high yield potential and early maturity traits derived from a diallel cross were planted in a randomized complete block design with two checks (Srikandi Kuning and BISI-2) as a single factor with four replicates. The observed traits were grain yield per hectare and harvest age. The effects of environment, genotype, and genotype × environment interaction on yield were highly significant (P < 0.01). KTM-1, KTM-2, KTM-4, KTM-5, and KTM-6 showed higher average grain yield per hectare than the checks (Srikandi Kuning = 8.49 ton ha−1 and BISI-2 = 7.32 ton ha−1) at five different locations. The average harvest age of 11 candidates was less than 100 days. KTM-4 and KTM-5 had production yields that were higher than the average yield of all genotypes in all environments (Yi > 7.78 tons ha−1) and were considered stable on the basis of three stability parameters, i.e., Finlay–Wilkinson, Eberhart–Russell, and additive main effect multiplicative interaction (AMMI). KTM-2 had the highest yield among all tested genotypes (9.33 ton ha−1) and was considered as stable on the basis of AMMI but not on the basis of Finlay–Wilkinson and Eberhart–Russell. KTM-1 performed well only in Pamekasan, whereas KTM-6 performed well only in Sampang. Thus, these two genotypes could be targeted for these specific locations.
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Reiter, Patrick, Hannes Poier, Christian Holter, Sabine Putz, Werner Doll, Maria Moser, Bernhard Gerardts, and Anna Provasnek. Business Models of Solar Thermal and Hybrid Technologies. IEA SHC Task 55, February 2019. http://dx.doi.org/10.18777/ieashc-task55-2019-0002.

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District Heating required annually 600 TWh in the European Union and represents more than 10% of the EUs heat demand. Fossil fuels are the major source for heat production. Approximately 5000 district heating grids in the EU are operated by burning fossil fuels valued at € 18 billion (600 TWh) and emitting more than 150 million tons of CO2 emissions every year.
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Tobin, S. J., T. Kammash, and J. T. Hogan. A quantitative study of the carbon impurity production mechanisms from an inertial limiter in Tore Supra as determined by visible spectroscopy. Office of Scientific and Technical Information (OSTI), December 1995. http://dx.doi.org/10.2172/161539.

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Legena, Henry, Brittney McKenzie, Aria Goodridge, Karyl Pivott, Joshua Austin, Kristen Lynch, Shamika Spencer, et al. Experimental Evidence on the Use of Biomethane from Rum Distillery Waste and Sargassum Seaweed as an Alternative Fuel for Transportation in Barbados. Inter-American Development Bank, May 2021. http://dx.doi.org/10.18235/0003288.

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This paper presents an alternative to the current use of gasoline and diesel for transportation in Barbados. By relying on experimental evidence, it shows that biomethane emanating from the combination of Sargassum seaweed that is found on the seashores of the country with wastewater from rum distillery production can be used to produce an alternative transportation fuel. If implemented successfully, this alternative combustion method can avoid as much as 1 million metric tons of CO2 emissions every year in the country. These findings have important implications for policymakers. First, they can contribute to the national objective of becoming fossil fuel free by 2030 and diversifying the energy matrix. Second, this alternative fuel can improve resilience to natural catastrophes, complementing the transition to renewables and diversification of the sector. Third, the impact on the tourism industry is expected to be high and positive, as the Sargassum seaweed has been declared a national emergency due to its prevalence on beach tourism spots.
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