Journal articles: '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 (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 (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 (2006): 309–33. http://dx.doi.org/10.1017/s0952675706000923.

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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 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 (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 (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 (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 (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 (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 (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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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 or Tone 4) due to anticipatory coarticulation. Some similar and different tonal coarticulation effects between native Chinese speakers and second language learners of Chinese are also noted in the paper based on the experiment results. This study argues that a ‘universal’ coarticulatory constraint plays a role in shaping second language Chinese tone phonology.

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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 were transcribed by two native judges. Acoustic measurements included overall tonal dispersion and specific contrasts between similar tone pairs: ratios of average fundamental frequency height for the level tones (T1, T3, T6), magnitude of rise and inflection point for the rising tones (T2, T5), magnitude of fall, H1*–H2*, and harmonic-to-noise ratio for the low tones (T4, T6). Auditory assessment of creakiness for T4 was also included. Results Children in the eldest group (aged 5;7–6;0) were still not completely adultlike in production accuracy, although two thirds of them had production accuracy over 90%. Children in all age groups had production accuracy significantly higher than chance level, and they could produce the major acoustic contrasts between specific tone pairs similarly as reference speakers. Fine phonetic detail of the inflection point and creakiness was more challenging for children. Conclusion Our findings illustrated the multifaceted aspects (both early and late) of Cantonese tone acquisition and called for a wider perspective on how to define successful phonological acquisition. Supplemental Material https://doi.org/10.23641/asha.11594853

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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 register tone continua—from tone T3 (23) to tone T2 (34)—imposed on base syllables with either modal or breathy voice quality, and beginning with various onset consonants. We used continua constructed from either naturally produced or synthesized syllables. Our results show that breathy voice does bias tone identification responses toward the low-register tone T3. This result held for both synthesized and natural stimuli, except for the /m/-onset stimuli derived from naturally produced syllables. We propose that the phonetic change at issue—loss of breathiness in production—is not due to misperception but reflects the ever-stronger influence of Standard Mandarin Chinese. In other words, this particular case of sound change seems to be led by production rather than perception. It remains an open question whether this kind of sound change is only determined by sociolinguistic factors (here, the dominance of Mandarin Chinese) or is independently motivated by phonetic and/or phonological factors.

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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 21 (C53→C21), smooth citation and sandhi tone 55 (S51→S55), and smooth citation and sandhi tone 21 (S33→S21) are acoustically completely neutralized in fundamental frequency (F0) height, contour, and duration. A non-sandhi exception was also included to evaluate the effect of position-in-word on F0 height and duration given that citation tones always appear in phrase-final position. Any trace of influence from the underlying representation would indicate a computational mechanism, whereas the absence of any trace would suggest a lexical mechanism for the production of Taiwanese tonal alternation. Results did not show any influence of F0 height, F0 contour, or tone duration from the underlying representation for both checked and smooth tones, supporting a lexical mechanism in speech production for less productive tonal alternations.

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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 participated in tone production and perception experiments. Production materials with 30 monosyllabic words were transcribed in filtered and unfiltered conditions by 2 native judges. Perception accuracy was based on a 2-alternative forced-choice task with pictures covering all possible tone pair contrasts. Results Children's accuracy of production and perception of all the 6 Cantonese tones was still not adultlike by age 6;0. Both production and perception accuracies matured with age. A weak positive link was found between the 2 accuracies. Mother's native language contributed to children's production accuracy. Conclusions Our findings show that production and perception abilities are associated in tone acquisition. Further study is needed to explore factors affecting production accuracy in children. Supplemental Material https://doi.org/10.23641/asha.7960826

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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 range had less effect on tone 1 focus. These cues, however, were prominent when contour tones (tones 2 and 4) were in focus. Unlike other focused tones that raised pitch, tone 3 focus exhibited the opposite pattern, lowering its pitch target. In the aggregation of all focused tones, it was found that only primarily pitch-related parameters were selected as the main variables discriminating one from another. The results of this study, therefore, suggest that the prosodic marking of focus is not uniform, even within a single language, but clearly differs by tone type. Accordingly, prosodic marking of focus should be considered multimodal in a tonal language.

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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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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 feedback has been shown to be more effective (Li, 2009, 2014). Using a mixed methods design, the current study investigated the acquisition of Mandarin tones in beginner, adult learners (n = 41) enrolled in a 14-week, one-on-one, synchronous computer-mediated communication course. Learners were divided into two experimental groups: a more implicit feedback group and a more explicit feedback group. Pretests and posttests assessed changes in tone perception and production. Upon completion of the course, learners in the more implicit feedback group had greater improvement in tone production compared to the more explicit feedback group (d = .75). Both learners and the instructor indicated a preference toward recasts for tone feedback. No statistically significant differences were found for tone perception.

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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 dimension and compares NS listeners’ judgment on NNSs’ tonal performance of high frequency disyllabic word covering Mandarin disyllabic tonal combination in three lexical contexts, namely (1) hearing pairs of humming tones (syllables removed via Praat); (2) hearing disyllabic words (syllables + tones); (3) hearing disyllabic words + seeing target pinyin orthography. Statistical analyses revealed a significant effect of lexical contexts on the perceived tone accuracy, which increased when auditory and visual lexical cues were available, as in Conditions 2 and 3. Acoustic analyses further revealed the nature of the two lexical effects. Hearing words had a positive effect on the precision of the NSs’ tonal perception compared to hearing tones only. However, the visual presence of pinyin misled NSs to compensate for learners’ tone production deficiencies. The findings have implications for future research involving the rating of tones using auditory approach and also shed light on the teaching of Mandarin tones to NNSs.

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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 learners perceived and produced tones significantly better when characters were shown with tone diacritics and when the phonetic radical was reliable. The presence of pinyin with tone number did not facilitate tone acquisition more than the condition where pinyin was unavailable. The learners’ proficiency levels, only affecting the number of learning sessions required to pass the criterion test, did not correlate with their tone performance.

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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 have similar characteristics, (ii) the tendency to pronounce complicated tones as simple tones, and (iii) confusing the diacritics of tones. The results of the frequency of melodic contour of all tones produced by the four groups show significant differences between the YVA group and the other three groups in terms of the frequency and distribution of irregular and common tone contours of each tone, suggesting that the YVA group failed to produce the tones correctly or did not reach the required standard of tone production of contemporary standard Vietnamese. In addition, the results of tone contours showed that the tonal range of the YVA group is narrower than that of the other three groups.

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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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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' fundamental frequency spectral data did not differ among the 3 conditions. In Experiment 2a, the conditions did not affect the production of 24 English speakers for the most part, but there was some evidence that hand gestures helped Tone 4. In Experiment 2b, native Mandarin judges found limited conditional differences in L2 productions, with Tone 3 showing a slight head nods benefit in a subset of “correct” L2 tokens.ConclusionResults suggest that metaphoric bodily actions do not influence the lowest levels of L1 speech production in a tonal language and may play a very modest role during preliminary L2 learning.

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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 interpreted as a means to compensate for declining subglottal pressure. In general, we argue that larynx height plays a supportive role in facilitating f0 change under circumstances where intrinsic mechanisms for f0 control are insufficient to reach tonal targets due to vocal fold inertia. Activation of the laryngeal constrictor can be used to achieve low tone targets through mechanical adjustment to vocal fold dynamics. We conclude that extra-glottal laryngeal mechanisms play important roles in facilitating the production of tone targets and should be integrated into the contemporary articulatory model of tone production.

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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 monosyllables for each subject. It is found that German speakers have much smallerf0 range than Chinese native speakers. Findings can provide implications for cross language studies and teaching practices.

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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 alaryngeal speakers were also dissimilar to those for normal speakers. Results from fundamental frequency (F o ) analysis revealed that the performance deficit of alaryngeal speakers could be related to specific characteristics of their F o contours. Findings are interpreted to highlight the importance of (a) language, (b) type of prosody, (c) form of alaryngeal speech, and (d) F o level and direction on linguistic assessments of F o control in alaryngeal speech.

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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 teaching method improved Tone 3 production in connected tonal environments at the sentence level, whereas the pitch direction-focused teaching method was more effective in training students to produce this tone in isolation. More importantly, unlike the pitch direction-focused method, the effectiveness of the pitch height-focused teaching method generalized to new words. It helped L2 learners to develop a self-learning skill for pronouncing unfamiliar words.

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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 distribution of lexically distinct tones. The results show clear presence of tonally distinctive words but without any definitive tonal alignment. We consider the diachrony and synchronic analysis of this and conclude that the syllable is not the Tone Bearing Unit in the conventional sense in current Deori, and that there is no clinching evidence to suggest alignment and spreading of the lexically distinctive tone to the right edge. Given these results, we conclude that tone is spread in the entire word in Deori. We also note that Deori no longer exhibits the prototypical Tibeto-Burman sesquisyllabic pattern and has instead developed an iambic stress pattern.

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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 with pitch gesture observation compared to a training session without it (Experiment 1) and the benefits of producing gestures compared to only observing them and repeating the words aloud (Experiment 2). A comparison of the results of the two experiments revealed that there was no significant difference between the simple observation of pitch gestures and the production of speech accompanied by pitch gestures in facilitating lexical tone identification and word learning. Thus, both perception and production tasks with pitch gestures can be regarded as beneficial learning strategies for the initial stages of tones acquisition in the Chinese as a Second Language classroom.

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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 three separate days. Immediate posttests assessing learning outcomes in both perceptive and productive skills were administered on the last day. Musical tonal ability tests were administered to all participants and used as a covariate. The results showed that performance was far worse when participants were tested on the reverse skill than when they were tested on the practiced skill in terms of both error rates and reaction times, providing strong support for the skill-specificity hypothesis. Musical tonal ability was found to correlate with accuracy performance in both tone-word perception and production.

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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 the main patterns of mispronunciation of tones by the young Vietnamese in Australia (YVA) include (i) confusing tones that are in the same registers or/and have similar characteristics, (ii) the tendency to pronounce complicated tones as simple tones, and (iii) confusing the diacritics marking tones. By “mispronunciation”, we mean the differences in tones used in Brisbane, Australia from the tones used in Vietnam. This study also examined the frequency of the contour of all tones produced by all four groups. The results show significant differences in terms of the frequency and distribution of irregular and common tone contours between the YVA group and the three other groups, suggesting that the YVA group failed to produce the tones correctly or did not reach the required standard of tone production of contemporary Southern Vietnamese. In addition, the findings with respect to tone contours showed that the tonal range of the YVA group is narrower than that of the other three groups.

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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’ recordings were conducted, and the learners’ production was compared with that of native speakers. Results indicated that students’ pronunciation of some tones improved in the posttest. The postsurveys indicated that two-thirds of the participants found viewing pitch curves helpful. This study confirms previous research but suggests that acoustic analyses complement auditory analyses with more precise indications of L2 learners’ tonal difficulties.

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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 generating pathways and, conversely, ceramide is known to increase ROS production. In recent years, ceramide has emerged as a novel key player in oxygen sensing in vascular cells and mediating vascular responses of crucial physiological relevance such as hypoxic pulmonary vasoconstriction (HPV) or normoxic ductus arteriosus constriction. Likewise, a growing body of evidence over the last years suggests that exaggerated production of vascular ceramide may have detrimental effects in a number of pathological processes including cardiovascular and lung diseases.

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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: a perception assessment by native Mandarin speakers and an acoustic analysis of pitch track comparison. Contextual data were coded based on the length of language contact with native speakers of Chinese. The results indicate that difficult tone combinations are context sensitive. It also reveals what strategies learners of Chinese use to produce tones similar to native speakers’ production.

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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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Journal articles on the topic 'Tone production'

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