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Journal articles on the topic 'Tone production'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

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 (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 pi

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2

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 (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 s

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3

Svantesson, Jan-Olof, and David House. "Tone production, tone perception and Kammu tonogenesis." Phonology 23, no. 02 (2006): 309–33. http://dx.doi.org/10.1017/s0952675706000923.

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4

Yao, Yao, Angel Chan, Roxana Fung, et al. "Cantonese tone production in pre-school Urdu–Cantonese bilingual minority children." International Journal of Bilingualism 24, no. 4 (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 pa

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5

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 (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 merge

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6

Köhnlein, Björn. "The complex durational relationship of contour tones and level tones." Diachronica 32, no. 2 (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 wi

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7

Yang, Chunsheng. "Tone errors in scripted conversations of L2 Mandarin Chinese." Chinese as a Second Language Research 5, no. 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 fr

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8

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 (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 ampli

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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 (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 gr

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10

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 (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

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11

Zhang, Hang, and Yirui Xie. "Coarticulation effects of contour tones in second language Chinese." Chinese as a Second Language Research 9, no. 1 (2020): 1–30. http://dx.doi.org/10.1515/caslar-2020-0001.

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AbstractThis study tests for evidence of tonal coarticulation effects, especially anticipatory effects, in production of non-native Chinese contour tones. Eighty second language learners of Chinese and ten native speakers participated in a main experiment and two supplementary experiments in which they produced both real and pseudo disyllabic words. Findings indicate that anticipatory coarticulation is relevant in L2 contour tone production. L2 speakers’ Tone 2 and to some extent Tone 4 tend to be less intelligible to native listeners when followed by tones starting with a high onset (Tone 1 o

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Mok, Peggy Pik Ki, Vivian Guo Li, and Holly Sze Ho Fung. "Development of Phonetic Contrasts in Cantonese Tone Acquisition." Journal of Speech, Language, and Hearing Research 63, no. 1 (2020): 95–108. http://dx.doi.org/10.1044/2019_jslhr-19-00152.

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Purpose Previous studies showed both early and late acquisition of Cantonese tones based on transcription data using different criteria, but very little acoustic data were reported. Our study examined Cantonese tone acquisition using both transcription and acoustic data, illustrating the early and protracted aspects of Cantonese tone acquisition. Method One hundred fifty-nine Cantonese-speaking children aged between 2;1 and 6;0 (years;months) and 10 reference speakers participated in a tone production experiment based on picture naming. Natural production materials with 30 monosyllabic words w

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13

Gao, Jiayin, Pierre Hallé, and Christoph Draxler. "Breathy voice and low-register: A case of trading relation in Shanghai Chinese tone perception?" Language and Speech 63, no. 3 (2019): 582–607. http://dx.doi.org/10.1177/0023830919873080.

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In Shanghai Chinese as well as many other Wu dialects, breathy voice is a well-documented accompaniment of the low-register tone syllables with obstruent as well as sonorant onsets. But Shanghai Chinese is rapidly changing and the breathy voice associated with low-register tones tends to disappear in young speakers’ productions. In this study, we asked whether breathy voice is nevertheless still perceived and whether it pushes tone identification toward low-register tones. We conducted forced-choice tone identification tests on young native listeners of Shanghai Chinese, using low–high registe

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Chien, Yu-Fu, and Allard Jongman. "Tonal Neutralization of Taiwanese Checked and Smooth Syllables: An Acoustic Study." Language and Speech 62, no. 3 (2018): 452–74. http://dx.doi.org/10.1177/0023830918785663.

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Taiwanese tonal alternation is realized in a circular chain shift fashion for both smooth and checked syllables. Debate regarding the processes of less productive Taiwanese tonal alternation has centered on whether a surface tone is derived from an underlying tone, or whether a surface tone is selected without undergoing any derivation. The current study investigates this controversial issue by examining Taiwanese checked tone and smooth tone sandhi neutralization in production. In particular, we analyzed whether checked citation and sandhi tone 53 (C21→C53), checked citation and sandhi tone 2

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15

Mok, Peggy Pik Ki, Holly Sze Ho Fung, and Vivian Guo Li. "Assessing the Link Between Perception and Production in Cantonese Tone Acquisition." Journal of Speech, Language, and Hearing Research 62, no. 5 (2019): 1243–57. http://dx.doi.org/10.1044/2018_jslhr-s-17-0430.

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Purpose Previous studies showed early production precedes late perception in Cantonese tone acquisition, contrary to the general principle that perception precedes production in child language. How tone production and perception are linked in 1st language acquisition remains largely unknown. Our study revisited the acquisition of tone in Cantonese-speaking children, exploring the possible link between production and perception in 1st language acquisition. Method One hundred eleven Cantonese-speaking children aged between 2;0 and 6;0 (years;months) and 10 adolescent reference speakers participa

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Wang, Ting, Jun Liu, Yong-hun Lee, and Yong-cheol Lee. "The interaction between tone and prosodic focus in Mandarin Chinese." Language and Linguistics / 語言暨語言學 21, no. 2 (2020): 331–50. http://dx.doi.org/10.1075/lali.00063.wan.

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Abstract This study characterized focused tones in Mandarin Chinese through a production experiment using phone number strings. The results revealed that, although phonation cues had little effect on any focused tone, prosodic cues exhibited various patterns of distribution. Duration played an important role for each focused tone, but intensity had a relatively less salient role. Among pitch-related parameters, the raising of pitch register was an important cue when a level tone (tone 1) was focused. By contrast, due to the interaction between tone and intonation, absolute slope and pitch rang

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17

Yoshida, Toshiya. "Tone waveform production method for an electronic musical instrument and a tone waveform production apparatus." Journal of the Acoustical Society of America 103, no. 4 (1998): 1702. http://dx.doi.org/10.1121/1.421070.

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18

Bryfonski, Lara, and Xue Ma. "EFFECTS OF IMPLICIT VERSUS EXPLICIT CORRECTIVE FEEDBACK ON MANDARIN TONE ACQUISITION IN A SCMC LEARNING ENVIRONMENT." Studies in Second Language Acquisition 42, no. 1 (2019): 61–88. http://dx.doi.org/10.1017/s0272263119000317.

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AbstractThe current study investigates the effects of more explicit versus more implicit corrective feedback on beginner Mandarin learners’ perception and production of Mandarin tones. The effects of oral corrective feedback have been extensively investigated for various domains of second language acquisition (see Mackey & Goo, 2007). For phonological errors, implicit feedback has shown to be particularly salient to learners (Mackey, Gass, & McDonough, 2000) and therefore potentially more effective for tone learning. However, for lower proficiency beginners, explicit corrective feedbac

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19

Jiang, Yan. "Examining the auditory approach: Lexical effects in the perceptual judgment of Chinese L2 tone production." Chinese as a Second Language Research 6, no. 2 (2017): 225–50. http://dx.doi.org/10.1515/caslar-2017-0010.

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AbstractAuditory perception is generally used by raters who are asked to evaluate the accuracy of tone production by non-native speakers (hereafter NNSs) who are learning Mandarin Chinese. However, its validity needs to be examined as the native speaking (hereafter NS) listeners’ lexical knowledge (i.e., knowing the possible combination of syllables and tones) may affect their judgments in different listening contexts. This lexical effect has been reported at the segmental level in non-tonal languages (McClelland et al. 2006; Norris et al. 2000). The present study extends to the suprasegmental

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20

Chang, Yufen. "How pinyin tone formats and character orthography influence Chinese learners’ tone acquisition." Chinese as a Second Language Research 7, no. 2 (2018): 195–219. http://dx.doi.org/10.1515/caslar-2018-0008.

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AbstractIn L2 Chinese vocabulary instruction, the most conventional method of teaching is to present the new character, its English translation, and pinyin as a pronunciation guide to the segmental and tonal information. In this study focusing on tone formats and the presence of a phonetic radical, we investigated how these two aspects could impact tone acquisition. In the experiment, L2 Chinese participants of three proficiency levels learned 24 unfamiliar words, passed a criterion test with 90 % correctness, and completed a tone perception and production task. The results showed that the lea

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21

Dao, Dich Muc. "Analysing some Characteristics of the Vietnamese Tones produced by Young Vietnamese Australian People (for the Teaching of the Vietnamese language)." Science and Technology Development Journal 16, no. 3 (2013): 26–33. http://dx.doi.org/10.32508/stdj.v16i3.1644.

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This paper reported a study that acoustically examined the tonal features of Vietnamese language used by the Vietnamese community in Australia. Tones produced by older (n=10) and younger (n=10) Vietnamese Australians residing in Brisbane, Australia, were acoustically examined and compared with those produced by corresponding older (n=10) and younger (n=10) Vietnamese residing in Ho Chi Minh/Can Tho City, Vietnam. The results showed that the main patterns of mispronunciation of tones by the younger Vietnamese in Australia (YVA) include (i) confusing tones which are in the same registers or/and

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Gandour, Jack, Soranee Holasuit Petty, and Rochana Dardarananda. "Perception and production of tone in aphasia." Brain and Language 35, no. 2 (1988): 201–40. http://dx.doi.org/10.1016/0093-934x(88)90109-5.

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23

Zheng, Annie, Yukari Hirata, and Spencer D. Kelly. "Exploring the Effects of Imitating Hand Gestures and Head Nods on L1 and L2 Mandarin Tone Production." Journal of Speech, Language, and Hearing Research 61, no. 9 (2018): 2179–95. http://dx.doi.org/10.1044/2018_jslhr-s-17-0481.

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PurposeThis study investigated the impact of metaphoric actions—head nods and hand gestures—in producing Mandarin tones for first language (L1) and second language (L2) speakers.MethodIn 2 experiments, participants imitated videos of Mandarin tones produced under 3 conditions: (a) speech alone, (b) speech + head nods, and (c) speech + hand gestures. Fundamental frequency was recorded for both L1 (Experiment 1) and L2 (Experiment 2a) speakers, and the output of the L2 speakers was rated for tonal accuracy by 7 native Mandarin judges (Experiment 2b).ResultsExperiment 1 showed that 12 L1 speakers

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Moisik, Scott R., Hua Lin, and John H. Esling. "A study of laryngeal gestures in Mandarin citation tones using simultaneous laryngoscopy and laryngeal ultrasound (SLLUS)." Journal of the International Phonetic Association 44, no. 1 (2014): 21–58. http://dx.doi.org/10.1017/s0025100313000327.

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In this work, Mandarin tone production is examined usingsimultaneous laryngoscopy and laryngeal ultrasound(SLLUS). Laryngoscopy is used to obtain information about laryngeal state, and laryngeal ultrasound is used to quantify changes in larynx height. With this methodology, several observations are made concerning the production of Mandarin tone in citation form. Two production strategies are attested for low tone production: (i) larynx lowering and (ii) larynx raising with laryngeal constriction. Another finding is that the larynx rises continually during level tone production, which is inter

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Ding, Hongwei, Rüdiger Hoffmann, and Oliver Jokisch. "An Investigation of Tone Perception and Production in German Learners of Mandarin." Archives of Acoustics 36, no. 3 (2011): 509–18. http://dx.doi.org/10.2478/v10168-011-0036-6.

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AbstractThis study investigates the possible errors related to Mandarin tone perception and production by German speakers. In a preliminary test, 23 German listeners should identify the tones of 186 monosyllables. Results show that exposure to Mandarin Chinese can help to discriminate lexical tones as highly expected. In the main experiment, 17 German subjects were asked to take part in a perception and production test. Stimulus of perception involves 48 monosyllables uttered by a standard professional Chinese speaker; acoustic measures were conducted to analyze the production of 72 monosyllab

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DiCanio, Christian, and Hosung Nam. "Articulatory parameterization in Trique tone production: Distinguishing co-production from coarticulation." Journal of the Acoustical Society of America 133, no. 5 (2013): 3572. http://dx.doi.org/10.1121/1.4806546.

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Gandour, Jack, Bernd Weinberg, Soranee Holasuit Petty, and Rochana Dardarananda. "Tone in Thai Alaryngeal Speech." Journal of Speech and Hearing Disorders 53, no. 1 (1988): 23–29. http://dx.doi.org/10.1044/jshd.5301.23.

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The perception and production of linguistic tone was investigated in utterances spoken by Thai alaryngeal speakers. Thai is a tone language with five phonemic tones. High-quality tape recordings of five monosyllabic words produced by 2 esophageal, 1 electrolaryngeal, and 5 normal, native Thai speakers were subjected to perceptual and acoustic analysis. Results from the phonemic identification tests indicated that tones produced by alaryngeal speakers were not only perceived at much lower levels of accuracy than those produced by normal speakers, but the patterns of tonal confusions for alaryng

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Law, S., C. Kung, R. Fung, I. Su, and C. Wong. "Dissociation between Distinctive Tone Production and Poor Tone Perception in Cantonese: Preliminary ERP Results." Procedia - Social and Behavioral Sciences 61 (October 2012): 90–91. http://dx.doi.org/10.1016/j.sbspro.2012.10.094.

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Packard, Jerome L. "Tone production deficits in nonfluent aphasic Chinese speech." Brain and Language 29, no. 2 (1986): 212–23. http://dx.doi.org/10.1016/0093-934x(86)90045-3.

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He, Yunjuan, Qian Wang, and Ratree Wayland. "Effects of different teaching methods on the production of Mandarin tone 3 by English speaking learners." Chinese as a Second Language (漢語教學研究—美國中文教師學會學報). The journal of the Chinese Language Teachers Association, USA 51, no. 3 (2016): 252–65. http://dx.doi.org/10.1075/csl.51.3.02he.

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This study compared the effectiveness of two teaching methods on the production of Mandarin Tone 3 by English-speaking students. The control group (n=12) received pitch direction-focused instruction in which Tone 3 was introduced as a falling-rising contour tone while the experimental group (n=12) received pitch height-focused instruction in which Tone 3 was introduced as a low level tone. The ability to produce this tone in monosyllabic words, disyllabic words and sentences was assessed after 1 month, 2 months, and 3 months of instruction. The results showed that the pitch height-focused teac

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Mahanta, Shakuntala, Indranil Dutta, and Prarthana Acharyya. "Lexical tone in Deori: loss, contrast and word based alignment." Papers in Historical Phonology 2 (July 18, 2017): 51–87. http://dx.doi.org/10.2218/pihph.2.2017.1906.

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In this paper we investigate the existence of tones in Deori, a language which is historically known to have had tonal distinctions. In a study, 5 speakers were recorded for their production of potential lexical tones in a list of 34 words, and a list of 54 monosyllabic roots were recorded for a vowel experiment. We conducted an f0 analysis in order to examine the extent of ‘tonoexodus’ and loss of tonal properties in Deori. To the extent that experimental methods can be used to determine lexical tone, phonetic measurements of f0 and further statistical analysis reliably indicate the distribut

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Baills, Florence, Nerea Suárez-González, Santiago González-Fuente, and Pilar Prieto. "OBSERVING AND PRODUCING PITCH GESTURES FACILITATES THE LEARNING OF MANDARIN CHINESE TONES AND WORDS." Studies in Second Language Acquisition 41, no. 1 (2018): 33–58. http://dx.doi.org/10.1017/s0272263118000074.

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AbstractThis study investigates the perception and production of a specific type of metaphoric gesture that mimics melody in speech, also called pitch gesture, in the learning of L2 suprasegmental features. In a between-subjects design, a total of 106 participants with no previous knowledge of Chinese were asked to observe (Experiment 1) and produce (Experiment 2) pitch gestures during a short multimodal training session on Chinese tones and words. In both experiments they were tested on (a) tone identification and (b) word learning. Results showed the positive effect of a training session wit

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Li, Man, and Robert DeKeyser. "PERCEPTION PRACTICE, PRODUCTION PRACTICE, AND MUSICAL ABILITY IN L2 MANDARIN TONE-WORD LEARNING." Studies in Second Language Acquisition 39, no. 4 (2017): 593–620. http://dx.doi.org/10.1017/s0272263116000358.

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This study examined the differential effects of systematic perception and production practice and the role of musical ability in learning Mandarin tone-words by native English-speaking adults in a training study. In this study, all participants (N = 38; 19 for each practice group) were first taught declarative knowledge of Mandarin tones and of the target words on the first day. They had to reach criterion performance on the test of vocabulary before they started to engage in either perception or production practice on the second day. Each participant went through three practice sessions on th

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Sagart, Laurent, Pierre Halle, Bénédicte de Boysson-Bardies, and Catherine Arabia-Guidet. "Tone production in modern standard chinese : an electromyographic investigation." Cahiers de linguistique - Asie orientale 15, no. 2 (1986): 205–21. http://dx.doi.org/10.3406/clao.1986.1204.

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Lee, André, Shinichi Furuya, Masanori Morise, Peter Iltis, and Eckart Altenmüller. "Quantification of instability of tone production in embouchure dystonia." Parkinsonism & Related Disorders 20, no. 11 (2014): 1161–64. http://dx.doi.org/10.1016/j.parkreldis.2014.08.007.

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Leung, Keith K. W., and Yue Wang. "The relation between production and perception of Mandarin tone." Journal of the Acoustical Society of America 144, no. 3 (2018): 1721. http://dx.doi.org/10.1121/1.5067632.

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Roux, J. C. "On the perception and production of tone in Xhosa." South African Journal of African Languages 15, no. 4 (1995): 196–204. http://dx.doi.org/10.1080/02572117.1995.10587079.

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Sagart, Laurent, Pierre Halle, Bénédicte de Boysson-Bardies, and Catherine Arabia-Guidet. "TONE PRODUCTION IN MODERN STANDARD CHINESE : AN ELECTROMYOGRAPHIC INVESTIGATION." Cahiers de Linguistique Asie Orientale 15, no. 2 (1986): 205–21. http://dx.doi.org/10.1163/19606028-90000434.

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Xu, Li, Xiuwu Chen, Hongyun Lu, et al. "Tone perception and production in pediatric cochlear implants users." Acta Oto-Laryngologica 131, no. 4 (2010): 395–98. http://dx.doi.org/10.3109/00016489.2010.536993.

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Mustalampi, Sirpa, Arja Häkkinen, Hannu Kautiainen, Adam Weir, and Jari Ylinen. "Responsiveness of Muscle Tone Characteristics to Progressive Force Production." Journal of Strength and Conditioning Research 27, no. 1 (2013): 159–65. http://dx.doi.org/10.1519/jsc.0b013e3182518023.

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Chen, Si, Shuwen Chen, Yunjuan He, Bei LI, Yike Yang, and Ratree Wayland. "Effects of perceptual training in Mandarin tone sandhi production." Journal of the Acoustical Society of America 145, no. 3 (2019): 1825–26. http://dx.doi.org/10.1121/1.5101668.

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Đào, Mục-Đích, and Anh-Thư Nguyễn. "Vietnamese Tones Produced by Australian Vietnamese Speakers." Heritage Language Journal 14, no. 3 (2017): 224–47. http://dx.doi.org/10.46538/hlj.14.3.1.

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This paper reports an acoustic study that examined the tonal features of Vietnamese language used by the Vietnamese community in Australia. The target of this examination is the comparative analysis of the phonetic characteristics of tones produced by Vietnamese in Australia and in Vietnam. Tones produced by young (n=10) and older (n=10) Vietnamese Australians residing in Brisbane, Australia, were acoustically examined and compared with those produced by corresponding young (n=10) and older (n=10) Vietnamese residing in either Ho Chi Minh City or Can Tho City, Vietnam. The results showed that

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Chun, Dorothy M., Yan Jiang, Justine Meyr, and Rong Yang. "Acquisition of L2 Mandarin Chinese tones with learner-created tone visualizations." Journal of Second Language Pronunciation 1, no. 1 (2015): 86–114. http://dx.doi.org/10.1075/jslp.1.1.04chu.

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This paper reports on a study of 35 Mandarin Chinese learners who (1) created pitch curves of their spoken word tones and (2) compared their pitch curves with those of native speakers while practicing pronunciation. Following a pretest, the learners received training for 20–25 minutes weekly over nine weeks and took a posttest. Two types of data analyses were performed. First, native speakers of Mandarin auditorily rated the pretests and posttests. The ratings revealed that learners’ pronunciation of tones improved between pretest and posttest. Second, acoustic analyses of the learners’ record

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Barry, Johanna G., and Peter J. Blamey. "The acoustic analysis of tone differentiation as a means for assessing tone production in speakers of Cantonese." Journal of the Acoustical Society of America 116, no. 3 (2004): 1739–48. http://dx.doi.org/10.1121/1.1779272.

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Cogolludo, Angel, Eduardo Villamor, Francisco Perez-Vizcaino, and Laura Moreno. "Ceramide and Regulation of Vascular Tone." International Journal of Molecular Sciences 20, no. 2 (2019): 411. http://dx.doi.org/10.3390/ijms20020411.

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In addition to playing a role as a structural component of cellular membranes, ceramide is now clearly recognized as a bioactive lipid implicated in a variety of physiological functions. This review aims to provide updated information on the role of ceramide in the regulation of vascular tone. Ceramide may induce vasodilator or vasoconstrictor effects by interacting with several signaling pathways in endothelial and smooth muscle cells. There is a clear, albeit complex, interaction between ceramide and redox signaling. In fact, reactive oxygen species (ROS) activate different ceramide generati

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Yang, Bei, and Nuoyi Yang. "Development of disyllabic tones in different learning contexts." International Review of Applied Linguistics in Language Teaching 57, no. 2 (2019): 205–33. http://dx.doi.org/10.1515/iral-2016-0004.

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AbstractTones are the most challenging aspect of learning Chinese. We study tonal acquisition for American learners of Chinese in three learning contexts: study-abroad, at-home and immersion programs. This paper explores whether and how tone production is improved in these contexts. Fifteen learners of Chinese participated in this study. They took a pre-test and a post-test. The control group contained ten native speakers. The task was a read-aloud test in Chinese. Additionally, learners filled out a language contact form. To assess students’ tonal accuracy, we conducted two kinds of analysis:

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Laniran, Yetunde O., and G. N. Clements. "Downstep and high raising: interacting factors in Yoruba tone production." Journal of Phonetics 31, no. 2 (2003): 203–50. http://dx.doi.org/10.1016/s0095-4470(02)00098-0.

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Lu, Shuang, Ratree Wayland, and Edith Kaan. "Comparison of perceptual training and production training on tone identification." Journal of the Acoustical Society of America 134, no. 5 (2013): 4250. http://dx.doi.org/10.1121/1.4831638.

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YAO, WE, SREN P. SHEIKH, BENT OTTESEN, and JRGEN C. JRGENSEN. "The Effect of Neuropeptides on Vessel Tone and cAMP Production." Annals of the New York Academy of Sciences 805, no. 1 (2006): 784–88. http://dx.doi.org/10.1111/j.1749-6632.1996.tb17557.x.

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Gottfried, Terry L., and Grace Yin‐Hwei Ouyang. "Production of Mandarin tone contrasts by musicians and non‐musicians." Journal of the Acoustical Society of America 118, no. 3 (2005): 2025. http://dx.doi.org/10.1121/1.4785767.

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