Orientadores: Maria Bernadete Marques Abaurre, Marina Cláudia Pereira Verga Afonso e Vigário / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T10:39:25Z (GMT). No. of bitstreams: 1 Toneli_PriscilaMarques_D.pdf: 66093968 bytes, checksum: ed948857f871f46f09b9e060e46efc87 (MD5) Previous issue date: 2014 / Resumo: Esta tese apresenta um estudo sistemático do domínio da Palavra Prosódica (PW ¿ Prosodic Word) no Português Brasileiro (doravante PB) em relação (i) à prosodização de palavras funcionais e de palavras lexicais; (ii) aos fenômenos fonológicos que podem tomar a PW como domínio de aplicação e àqueles que podem funcionar como diagnósticos para identificá-la; e (iii) à investigação da estrutura entoacional em busca de evidências desse domínio prosódico no PB. Uma comparação entre PB e Português Europeu (doravante PE) é feita ao longo do trabalho, conforme são discutidos os fenômenos fonológicos que identificam e caracterizam a PW na variedade europeia, uma vez que há um estudo sistemático sobre o respectivo domínio realizado por Vigário (2003). Os corpora analisados para o desenvolvimento da presente pesquisa foram obtidos empiricamente por meio de observação e da elaboração de experimentos que controlaram algumas variáveis para a validação ou para a refutação de algumas hipóteses, por exemplo, a investigação do domínio relevante para distribuição tonal no PB e para a atribuição de acento de foco fonológico. Na presente tese, mostramos que alguns fenômenos fonológicos tomam a PW como domínio de aplicação, como as regras de (i) atribuição de acento primário, (ii) harmonia vocálica, (iii) atribuição de acento secundário, (iv) neutralização da pretônica, (v) assimilação de nasalidade fonética, (vi) associação de acentos tonais e (vii) atribuição de acento inicial. Outros fenômenos como a haplologia, a semivocalização, a nasalidade fonética, a neutralização vocálica das vogais pretônicas e postônicas ajudam a identificar uma PW no PB. Destacamos que a síndrome da palavra mínima e as generalizações fonotáticas também contribuem para a discussão do estatuto prosódico de palavras funcionais e de palavras lexicais. Nossos resultados experimentais mostraram que a regra de atribuição de acento de foco e de acento enfático, o apagamento em estruturas coordenadas e o truncamento em sentenças que incluíam palavras formadas por duas PWs (e.g. cata-ventos) trazem evidências do Grupo de Palavra Prosódica (Prosodic Word Group - PWG). A análise da prosodização de palavras funcionais monossilábicas (e.g. a, artigo definido) também mostrou que tais palavras, quando prosodizadas como sílabas átonas, sofrem processos fonológicos pós-lexicais e são adjungidas a uma PW pronta no pós-léxico, formando um domínio prosódico acima de PW. Nesse caso, assumimos que esse domínio prosódico é PWG (cf. Toneli, 2009). Por outro lado, em relação à prosodização de afixos átonos (e.g. desfazer), assumimos, conforme já proposto na literatura do PB, que são adjungidos a uma PW pronta no componente lexical, formando uma única PW. No caso de sufixos átonos, também é assumido que são incorporados a uma base lexical no componente lexical, formando uma PW (cf. Lee, 1995; Moreno, 1997, Schwindt, 2000). A comparação entre PB e PE é tratada mais detalhadamente no âmbito da relação entre estrutura prosódica e estrutura entoacional, principalmente com relação à produção de sentenças declarativas em contexto de foco de escopo largo e de foco de escopo estreito contrastivo, e consiste em destacar os aspectos que aproximam e que distanciam as duas variedades de português, no que tange à aplicação de fenômenos fonológicos, como a distribuição tonal dentro do Sintagma Entoacional (I). Mostramos que a principal semelhança entre PB e PE é a posição e o tipo de acento tonal associado à posição nuclear de sentenças declarativas produzidas em contexto de foco largo, e a principal diferença consiste na densidade tonal, já que no PB há um acento tonal em cada PW de I, enquanto no PE há somente um acento tonal associado às posições inicial e final de I / Abstract: This thesis presents a systematic study on the domain of Prosodic Word (PW) in Brazilian Portuguese (BP) in relation to (i) the prosodization of function words and of lexical words; (ii) phonological phenomena that can take PW as an application domain, and those that can work as diagnostics to identify it; (iii) the investigation of the intonational structure searching for evidences of these prosodic domain in BP. A comparison between BP and European Portuguese (EP) is made throughout the study as the phonological phenomena that identify and characterize the PW in the European variety are discussed, since there is a systematic study about this domain conducted by Vigário (2003). The analyzed corpora on the development of this research were empirically obtained through the observation and by the elaboration of experiments that controlled some variables to validate or to deny some hypotheses, for example, the investigation of the relevant domain to the tonal distribution in BP and to the assignment of the phonological focus stress. In this thesis, we show that some phonological phenomena take the PW as an application domain, as the rules of: (i) primary stress assignment, (ii) vowel harmony, assignment of secondary stress, (iv) pretonic vowel neutralization, (v) phonetic nasality assimilation, (vi) pitch accents association and (vii) initial stress assignment. Other phenomena such as haplology, semivocalization, phonetic nasalization, pretonic and post-tonic vowels neutralization, helped us to identify a PW in PB. We emphasize that the syndrome of minimal word and that the phonotactic generalizations also contribute to the discussion of the prosodic status of function words and lexical words. Our experimental results showed that the rule for focus stress assignment and for emphatic accent, the deletion in coordinated structures, and the truncation in sentences that included words formed by two PWs (e.g. cata-ventos) provide evidence of the Prosodic Word Group (PWG). The analysis of the prosodization of monosyllabic function words (e.g. a - definite article) also showed that such words when prosodized as unstressed syllables, suffer post-lexical phonological processes and are adjoined to a ready PW in the post-lexical, forming a prosodic domain above PW. In this case, we assume that this prosodic domain is a PWG. On the other hand, in relation to unstressed prefix prosodization (e.g. desfazer > des+fazer), we assume, as already proposed in the literature of PB, that they are adjoined to a ready PW in the lexical component, forming a single PW. In the case of the unstressed suffixes, it is also assumed that they are incorporated into a lexical base in the lexical component, forming a PW (cf. Lee, 1995; Moreno, 1997 Schwindt, 2000). The comparison between BP and EP is treated in more details in the context of the relationship between the prosodic structure and the intonational structure, particularly with respect to the production of declarative sentences in a context of focus with a broad scope and focus with a contrastive narrow scope, and consists in highlighting aspects approaching and distancing the two Portuguese varieties, with respect to the application of phonological phenomena such as tonal distribution in the Intonational Phrase (I). We show that the main similarity between BP and EP is the position and the type of pitch accent associated with the nuclear position of declarative sentences produced in the context of broad focus, and the main difference lies in the tonal density, since in the BP there is a pitch accent on each PW in I, while in BP there is only one pitch accent associated with the initial and the final positions of I / Doutorado / Linguistica / Doutora em Linguística

Made available in DSpace on 2017-06-01T18:24:37Z (GMT). No. of bitstreams: 1 dissertacao_juliana_pereira.pdf: 1061992 bytes, checksum: dca2c82475b84612aab61f98a6010297 (MD5) Previous issue date: 2011-04-11 / This research aims to identify, from the observation of the language used by teachers in the classroom, aspects of intonation in spoken language to justify an academic evaluative relationship between authorship and prosody. We adopt the view which the subject is constituted author of his or her spoken words once he or she is positioned, thus assuming an appreciative speech over his or her enunciation. This finding fact is passive to be outlined from the point that knowledge takes place in identifying relations established between individuals through the choice of prosodic language resources, elements which characterize the authorship construction process in the academic context. It is examined the occurrence of these prosodic elements in the construction of meaning in oral texts produced by the subject teacher in the classroom from his or her speech production, the result of rereading related to the content being discussed in class. This work is based on the concept of Authorship described by Bakhtin (1990, 2003) and on the Intonation Interactional Theory developed by David Brazil (1981, 1985). We analyzed the speeches of two teachers in their structure, communicative context, the speaker's intention, degree of hierarchy between the participants and the presence and influence of prosodic factors. We conclude that the identification of constitutive marks of the author highlights the necessity of observing the teacher's prosodic ability as speaker in dealing with language, emphasizing the practice of an oriented responsive speech, in which the assessment is an instrument that gives the speaker the power to rearrange his or her own thoughts in favor of what is stated. It is proposed, therefore, the construction of more appreciative discourses and less significant discourses to assist in targeting the intended meaning and purpose of the content covered in class, so that the individual teacher acquires the power to exercise his or her speech in an authentic manner, producing knowledge much more than merely reproducing knowledge within the academic context / Este estudo tem como proposta identificar, a partir da observação da linguagem utilizada pelo professor em sala de aula, aspectos da entoação no texto oral acadêmico que justifiquem uma relação valorativa entre autoria e prosódia. Partimos da concepção de que o sujeito se constitui autor do seu dizer, uma vez que ele se posiciona, assumindo, assim, um discurso apreciativo em sua enunciação. Esse fato é passivo de constatação ao delinearmos de que forma se dá o conhecimento das relações identificatórias estabelecidas entre sujeitos por meio da escolha de recursos linguísticos prosódicos, elementos que caracterizam o processo de construção da autoria no contexto acadêmico. Examina-se a ocorrência desses elementos prosódicos na construção do sentido nos textos orais produzidos pelo sujeito professor em sala de aula a partir da produção de seu discurso, fruto de releituras do conteúdo a ser abordado em aulas. O presente trabalho se fundamenta no conceito de Autoria descrito por Bakhtin (1990; 2003) e na Teoria Interacional da Entoação desenvolvida por David Brazil (1981; 1985). Foram analisados discursos de dois professores em sua estrutura, contexto comunicativo, intenção do falante, grau de hierarquia entre os participantes e quanto à presença e influência dos fatores prosódicos. Conclui-se que a identificação de marcas constitutivas da autoria ressalta a necessidade de observação da habilidade prosódica do professor locutor ao lidar com a linguagem, enfatizando a prática de um discurso orientado responsivo, em que a apreciação seja instrumento que fornece ao falante o poder de reorganizar o próprio pensamento em favor do que é enunciado. Propõe-se, portanto, a construção de discursos mais apreciativos e menos significativos que auxiliem na focalização do sentido pretendido como objetivo dos conteúdos abordados em sala de aula, de forma que o sujeito professor adquira o poder de exercer seu discurso de maneira autêntica, produzindo conhecimento muito mais do que, meramente, reproduzindo conhecimento dentro do contexto acadêmico

For a composer of today, the relationship between new music and music from many centuries past remains problematic. In order to create something new, it is necessary to go beyond previous techniques of composition in some way. At the same time, new music that has no connection with music of the past runs the risk of irrelevance. Just tuning offers one possibility for reconciling this problem. By effectively warping music of the past through the lens of altered tuning and contemporary composition techniques, music of the past may be understood in previously unknown ways. Part I, the critical essay, presents historical background and analysis of a cycle of three works in altered/just tuning. Part II presents scores of the works.

L’alternance codique (Code-switching, CS) est l’un des comportements naturels les plus courants chez les bilingues. Les linguistes ont exploré les contraintes derrière l’alternance codique (CS) pour expliquer ce comportement. Au cours des dernières décennies, la recherche a plutôt été axée sur les contraintes syntaxiques et ce n’est que récemment que les contraintes prosodiques ont commencé à attirer l’attention des linguistes. Puisque la paire de langues choisie est moins étudiée dans le domaine de recherche sur la CS, les études sur la CS mandarin-anglais sont limitées en ce qui concerne les deux contraintes. Ainsi, cette étude explore à la fois les contraintes prosodiques et les schémas syntaxiques de cette paire de langues grâce à une base de données naturelle sur l’alternance codique. Prosodiquement, l’étude applique une approche fondée sur l’information (information-based approach) et utilise une unité fondamentale, l’unité d’intonation (Intonation Unit, IU), pour mener l’analyse. Le résultat de 10,6 % d’IU bilingue (BIU) se révèle fiable et offre des preuves solides que l’alternance codique a tendance à avoir lieu aux frontières de l’IU chez les bilingues. Les résultats soutiennent le travail précurseur de Shenk (2006) à partir d’une paire de langues inexplorée (mandarin-anglais). De plus, cette étude développe des solutions au problème de subjectivité et au problème d’adéquation de la base de données afin de renforcer la fiabilité des résultats. D’un point de vue syntaxique, l’étude examine les schémas syntaxiques aux points de CS de la paire de langues mandarin-anglais en utilisant des données recueillies auprès d’une communauté bilingue rarement étudiée. Un schéma syntaxique spécifique à cette paire de langues a été observé en fonction des résultats, mais l’étude suggère que ce schéma ait perturbé les résultats finaux. L’étude comporte une analyse avec les résultats de l’aspect prosodique et de l’aspect syntaxique. Lorsque les résultats divergents sont éliminés, on peut observer un résultat plus solide qui soutient davantage l’argument de la contrainte prosodique. / Code-switching (CS) is one of the most common natural behaviors among bilinguals. Linguists have been exploring the constraints behind CS to explain this behaviour, and while syntactic constraints have been the focus for decades, prosodic constraints were only studied more in depth recently. As a less common language pair in CS research, studies on Mandarin-English CS are limited for both constraints. Thus, this study explores the prosodic constraints and syntactic patterns of this language pair with a natural CS database. Prosodically, this study applies the information-based approach and its fundamental unit, Intonation Unit (IU), to conduct the analysis. The result of 10.6% bilingual IU (BIU) proves to be reliable and offers solid evidence that bilinguals tend to code-switch at IU boundaries. This supports the pioneer work of Shenk (2006) from the unexplored Mandarin-English language pair. In addition to this, the study develops solutions to deal with the subjectivity problem and the database appropriateness problem in this approach to strengthen the validity of the results. Syntactically, this study investigates the syntactic patterns at switching points on the Mandarin-English language pair using data collected from a rarely investigated bilingual community. Based on the results, a syntactic pattern specific to this language pair was observed and this study suggests it disrupted the final results. This study conducts an analysis with the results of both the prosodic aspect and the syntactic aspect. When the interfering results are eliminated, a more solid outcome can be observed which provides greater support to the prosodic constraint argument.

The subject of this work is aids and their possible use in teaching music reading to beginner pianists. The theoretical part presents the methodology behind aids and games, the importance of music reading for the musical activities of the pupils and for the development of their musical skills. It also explains the importance of using games in piano lessons. In the second part of this work you can find the description of the aids, recommendations for activities (often games), suggestions that are based on author's experience etc. The third part describes the effect of using aids and games on a few pupils of different levels of piano skills.

In hierdie studie word die intonasie van fluitspel ondersoek met die doel om vas te stel watter faktore beïnvloed intonasie en watter metodes aangewend kan word om dit te verbeter. Intonasie is ’n besonder sensitiewe onderwerp vir enige musikant. Indien ’n musikant negatief gekritiseer word oor intonasie, word dit dikwels as ’n persoonlike aanslag ervaar. Deur die oorsprong van Westerse stemmingstelsels te ondersoek, word dit moontlik om die onderwerp van intonasie meer sensitief te benader. Hierdie bewusmaking kan moontlik nuwe insigte tot stand bring ten opsigte van die nodige aanpassings wat gemaak moet word om intonasie te verbeter tydens solo- en ensemble-spel. Verskeie faktore kan daartoe bydra dat intonasie as minder goed ervaar word. Sommige van hierdie faktore word nie noodwendig deur die uitvoerder beheer nie, maar hou verband met die fisiologie van gehoor – hoe klank waargeneem word. Die enigste manier waarop intonasie gemonitor kan word tydens ’n uitvoering, is met die menslike oor. Intonasie is direk gekoppel aan die frekwensie van ’n spesifieke toonhoogte. In die natuur bestaan daar faktore wat die waarneming van ’n frekwensie as ’n spesifieke toonhoogte kan beïnvloed, byvoorbeeld die tydsduur, intensiteit en toonkleur. Hierdie faktore word ook in hierdie studie ondersoek. Alvorens metodes ter verbetering van intonasie ondersoek kan word, moet die bou van die moderne fluit ondersoek word. Geen fluitskaal het perfekte ingeboude intonasie nie en deur bewus te wees van waar die tekortkominge voorkom, kan die uitvoerder die onderwerp van intonasie met groter omsigtigheid benader. Sodra die uitvoerder en onderwyser bewus is van watter faktore intonasie beïnvloed en wat nie deur die uitvoerder beheer word nie, kan metodes oorweeg word om faktore wat wel binne die uitvoerder se beheer is, toe te pas om die fluitspeler se intonasie te verbeter. Verskeie aspekte word bespreek, waaronder die plasing van die kurkstopper, die posisie van die kopstuk ten opsigte van die fluit, die manier waarop die fluit vasgehou word, opwarmingsmetodes en oefeninge, die metode van instemming en toonproduksie. Die toonhoogteneigings van note op die fluit word vergelyk soos dit voorkom in vyf verskillende bronne, waarna alternatiewe vingersettings voorgestel word vir pianissimo- en fortissimo-spel. Hierdie vingersettings kan handig te pas kom om die embouchure te assisteer en intonasie beter te beheer. Laastens word die verband tussen die afwykings in die fluit se intonasie, en klimaat en weerstoestande ondersoek, sodat die speler die uitwerking wat veral temperatuur op intonasie het, ook in ag kan neem. Alhoewel hierdie navorsing grootliks klem lê op fluitspelers, is die studie nie net beperk tot die fluit nie en ander instrumentaliste sal ook hierby kan baatvind. ENGLISH This study investigates the factors that influence intonation when playing the flute. Methods by which intonation may be improved are also examined. All musicians regard intonation as an extremely sensitive subject. Musicians often perceive negative criticism of intonation as a personal affront. By investigating the origin of the Western tuning systems, it becomes possible to approach the subject of intonation with more sensitivity. This awareness may establish new insights with regard to the necessary adjustments that must be made during both solo and ensemble playing. Different factors may contribute to intonation being perceived as unsatisfactory. Some of these factors are not necessarily controlled by the performer, but relate to the physiology of hearing – how sound is perceived. The only way in which intonation can be monitored during a performance, is with the human ear. Intonation is directly linked to the frequency of a specific pitch. Factors exist in nature which may influence the perception of a frequency as a specific pitch, for example duration, intensity and tone colour. These factors are also examined in this study. Before investigating methods to improve intonation, the way that the modern flute is built has to be examined. No flute scale has perfect, built-in intonation. By being aware of the shortcomings that may occur, the performer can approach the subject with greater circumspection. When the performer and the educator are aware of the factors which may influence intonation and which are not controlled by the performer, methods can be considered to apply factors that can be controlled by the performer to improve intonation. Different aspects are discussed, such as the placement of the cork stopper, the position of the head joint with regard to the flute, the way the flute is held, warm-up methods and exercises, how to tune and tone production. The pitch tendency of notes on the flute are compared as they occur in five different sources, after which alternative fingerings are suggested for pianissimo and fortissimo playing. These fingerings are useful in assisting the embouchure to maintain better control of intonation. Finally, the relation between the deviation in the flute’s intonation, and climate and weather conditions are investigated to assist the performer to take into consideration the effect that temperature has on intonation. Although this research focuses on flute players, this study is not restricted to the flute, and other instrumentalists can also benefit from it. / Dissertation (MMus)--University of Pretoria, 2007. / Music / unrestricted

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Die rätselhaften Mensuren 35–41 des Petrarca-Madrigals O voi che sospirate a miglior’ note von Luca Marenzio (Il secondo libro de madrigali à 5 voci, Venedig 1581) haben in der Theoriegeschichte seit dem 19. Jahrhundert immer wieder für Gesprächsstoff gesorgt. Im Zentrum eines im dritten Ton disponierten Stückes finden sich im Bassus acht sukzessive Quintfälle, die schließlich im melodischen Intervall Ges–h kulminieren. Der Text umkreist den Topos des ›Fallens in tiefste Tiefen‹ mit zahlreichen Beispielen aus Theorie- und Kompositionsgeschichte und zeigt verschiedene Lösungsansätze zur intonatorischen Realisierung der Passage jenseits modernen gleichstufigen Zirkel-Denkens auf. / The enigmatic seven measures 35–41 of Luca Marenzio’s madrigal O voi che sospirate a miglior’ note (Il secondo libro de madrigali à 5 voci, Venice 1581) have repeatedly provoked discussions in the history of music theory since the 19th century. At the centre of a piece in third mode, there is an episode with eight successive descending fifths in the bassus, culminating in the melodic interval G-flat–b. The paper revolves around the topic of ‘falling in deepest depths’, citing numerous examples from the history of theory and composition, and offers several approaches to an intonational realisation beyond modern thinking in equal-tempered circles.