Global ETD Search

321	<b>Prosody and politeness: The effect of power, distance, and imposition on the production and perception of polar questions in requests</b> Bruno Staszkiewicz Garcia (18423795) 23 April 2024 (has links) <p dir="ltr">The present dissertation addresses the gap of how the three contextual variables (power, distance, and imposition) affect the use and perception of pitch range and final pitch contours in Central Peninsular Spanish polar questions. The methodological approach in this dissertation combines a production experiment in the form of a contextualized sentence-reading task (e.g., Brown et al., 2014; Henriksen, 2013) and a perception experiment using a pragmatic judgment task (e.g., Nadeu & Prieto, 2011). Both tasks systematically incorporated a set of situations that included the contextual variables of power, distance, and imposition. Thus, this dissertation provides a systematic analysis of power, distance, and imposition to investigate their influence on the use and perception of pitch range and pitch contours. To analyze pitch in the production experiment, a categorical analysis of final pitch contours (e.g., low-rising contour) and a quantitative analysis of prosodic features (i.e., pitch range and its conversion into semitones) were conducted. For the perception experiment, analyses included the comparison of linear mixed models to examine the perceived degree of politeness.</p><p dir="ltr">The findings presented in this dissertation support the Frequency Code Hypothesis in that they showed the relevance of pitch for signaling and perceiving politeness in requests in Spanish. The results from the production experiment suggested there are no effects of power, distance, and imposition on the selection of final intonational contours. Regarding the analysis of pitch range, the results from the production experiment indicated that the use of greater pitch range was associated with an increase in the social distance between the speakers. In the perception experiment, the results indicated that an increase in pitch range was directly associated with an increase in the perceived degree of politeness. Furthermore, the findings from this dissertation provided evidence for including a systematic analysis of the contextual variables of power, distance, and imposition to conduct analyses within the politeness framework instead of analyzing the formal/informal dimension in isolation The overall results of this dissertation contribute to the understanding of how suprasegmental features are employed in showing and perceivicing politeness.</p> Speech production Speech recognition Discourse and pragmatics Phonetics and speech science Sociolinguistics Politeness Requests Phonetics Prosody Intonation Speech production Speech perception Pragmatics Politeness Theory
322	Laut, Ton, Stärke Schreiner, Florian 03 May 2010 (has links) Historisch wird die Arbeit von zwei Daten her begrenzt, von den ersten hör-physiologischen Experimenten seit 1850, und von den massenwirksamen akustischen Inszenierungen der 1930er Jahre in „real auditory perspective“. Die Arbeit beginnt in Kapitel I mit dem tragischen Fall des Regisseurs und langjährigen Psychiatrie-Patienten Antonin Artaud, der die Sprache zugunsten von Lauten, Gebärden und Schreien verlässt. Seine Experimente zum Theater geben zu einer ersten Korrektur von Bildlichkeit Anlass. In Kapitel II wird der Vorrang der Bildlichkeit grundsätzlich in Frage gestellt, die Differenz von Bild und Klang wissenschaftshistorisch auseinandergesetzt, und ein „acoustic turn“ zur Welt vorbereitet. Die Untersuchungen des Physiologen und Akustikers Hermann von Helmholtz sind hier maßgeblich, denn sie beeinflussen die Technische Akustik von ihren Anfängen her. Das Kapitel III schließlich untersucht im transatlantischen Vergleich die technischen Bedingungen nach 1900. Die Beschallungsanlage hat nun die Fähigkeit, alltäglich in den Dienst genommen zu werden, und auch politischen Manipulationen diensthaft zu sein. / Historically the work is framed by two dates, by the physiological experiments of hearing and the mise en scène of a massed and sonic attack in so called „real auditory perspective“ of the 1930s. The first chapter starts with the tragedic and long living psychiatric case Antonin Artaud, who moves away from clarity of sounds to phones, gestures and crying. Such experiments give cause for a fundamental rethinking of meaning in the sense of picture, and leads to the second chapter which argues in more detail for the lap of our sonic understanding of the world. This way speeds up to an „acoutic turn“ by a retour to the biological grounds of sonic perception. The physiological and acoustic inquiries of Hermann von Helmholtz fit here to the ground for him being starting point of what will later be called „technische Akustik“. The third chapter bridges Europe´s early Telefunken-years with the United States and their chief acousticians at the legendary Bell Laboratories, and seeks finally for light in scientific amnesia against progress and control, or what the germans call „Betriebsamkeit“ and „Gestell.“ (Heidegger) Metaphysik Induktion Theater Abgrund Angst Anlage Befindlichkeit Berührung Beschallung decibel Elektroschock Futurismo Gebärde Gefühlsathletik Glockengeläut Grausamkeit Grund-Stimmung hifi-lofi Hörschwelle Innervation Intonation Klang Kultur-Betrieb Lautheit Lärmpegel Messtechnik Nachbilder Organ Phon Physiologie Präsentabilia Psychophysik Resonanzraum Schrei Sinnestäuschung Sirene Sprach-Losigkeit Sprung Schwingungsweite Stille Subjektil Tonlage Übermächtigung Wüste. sound metrology Abyss fear being touch acoustic irradiation decibel electroshock futurismo gesture athletics of feeling crualty basic tuning hifi-lofi threshold of audability inductivity innervation intonation cultural business loudness noise level metaphysics after-image organ phon physiology praesentabilia psychophysics resonance scream delusion siren loss of speech jump amplitude silence subjectil theater pitch overpowering desert 780 Musik 48 Musik EC 3520 AP 12300 ddc:780
323	臺灣大學生透過電腦輔助軟體學習英語發音的研究 / A Passage to being understood and understanding others: 蔡碧華, Tsai, Pi Hua Unknown Date (has links) 本研究旨在調查電腦輔助英語發音學習軟體「MyET」，對學習者在學習英語發音方面的影響。利用電腦輔助英語發音學習軟體(CAPT)，練習英語的類化效果，也列為調查重點之一。此外，學生使用CAPT過程中遭遇的困難和挑戰，以及互動過程中發展出來的對策也一一加以探討。本研究的目的是要把CAPT在英語聲韻教學的領域中做正確的定位，並且探討如何使用其他的中介工具(例如人類)來強化此類軟體的輔助學習效果。參與本次研究的大學生一共有九十名，分為三組：兩組CAPT組(亦即實驗組，使用CAPT獨自或與同儕一起使用CAPT學習英語發音)、非CAPT組(控制組)一組。每組三十名。實驗開始，所有學生以十週的時間練習朗讀從「灰姑娘」(Cinderella) 摘錄的文字，此段文字由發行 MyET 的公司線上免費提供。實驗前與實驗後，兩組的學生各接受一次測驗。每週練習結束後，學生必須將學習心得記載於學習日誌上；教師也針對每個學生的學習心得給予指導回饋。研究結果顯示，兩個CAPT組別(亦即使用CAPT發音學習軟體的組別)的學生在學習英語聲韻的過程中，都有明顯及正面的進步與改變。尤其是語調與速度快慢方面的進步遠勝於發音的進步。再者，實驗組學生以十週的時間利用CAPT學習英語後，在朗讀新的文字時，無論是發音或語調都有類化的效應，但是在速度快慢方面則無顯著進步。然而，實驗結果三組的發音表現，在量化統計上並未達到明顯的差異。雖然如此，在質化的探究上，經過分析學生的學習心得後得知：所有組別當中，獨自使用CAPT學習英語發音的組別，最能夠自我審視語言學習歷程 (包括模仿和學習樂趣)。至於共同使用CAPT學習的學生自述在英語流暢度、語調及發音方面獲致最大的改善。控制組的學生因為沒有同儕的鷹架教學及回饋，也沒有 MyET提供的練習回饋，練習過程中，學生自述學習困難的頻率最高，學生也認為學習收穫很少。參與本次研究實驗組的學生認為， CAPT提供練習回饋的機制設計有改進的空間。有關本研究結果在理論及英語教學上的意涵以及研究限制，於結論當中一一提出加以討論。關鍵字：電腦輔助語言教學，語音辨識軟體，超音段，語調，時長，學習策略，中介 / This present study investigated the impact of computer-assisted pronunciation training (CAPT) software, i.e., MyET, on students’ learning of English pronunciation. The investigation foci included the generalization of the effect of practice with the CAPT system. Also examined are the difficulties and challenges reported by the students who employed the CAPT system and the strategy scheme they developed from their interaction with the system. This study aimed to position the role of the CAPT system in the arena of instruction on English pronunciation and to investigate how other kinds of mediation, such as that of peer support, could reinforce its efficacy. This study involved 90 Taiwanese college students, divided into two experimental groups and one control group. The two experimental groups practiced English pronunciation by using a computer-assisted pronunciation training (CAPT) program either independently or with peers while the control group only had access to MP3 files in their practice. All the groups practiced for ten weeks texts adopted from a play, Cinderella, provided by MyET free of charge on line. They all received a pretest and a posttest on the texts they had practiced and a novel text. Each week after their practice with the texts, the participants were asked to write down in their learning logs their reflections on the learning process in Chinese. In the same way, the instructor would provide her feedback on the students’ reflections in the logs every week. The results showed that the ten-week practice with the CAPT system resulted in significant and positive changes in the learning of English pronunciation of CAPT groups (i.e., the Self-Access CAPT Group and the Collaborative CAPT Group). The progress of the participants in intonation and timing was always higher than in segmental pronunciation. Moreover, the ten-week practice with the CAPT system was found to be generalized (though the generalization is less than mediocre) to the participants’ performance in the production of segmental pronunciation and intonation but not in the timing component in reading the novel text. However, the improvement of the CAPT groups was not great enough to differentiate themselves from the MP3 Group. Though the quantitative investigation did not reveal significant group differences, the qualitative analysis of the students’ reflections showed that the learning processes all the three groups went through differed. The Self-Access CAPT Group outperformed the other two groups in developing self-monitoring of language learning and production, and in enjoying working with the CAPT system/texts. Among the three groups, the Collaborative CAPT Group outscored the other two groups in reporting their gains and improvement in fluency, intonation and segmental pronunciation, as well as developing strategies to deal with their learning difficulty. Though the students in the MP3 group also made significant progress after the practice, without peers’ scaffolding and the feedback provided by MyET, they reported the highest frequency of difficulties and the least frequency of gains and strategies during the practice. The participants of this study also considered necessary the improvement of the CAPT system’s feedback design. At the end of the study theoretical and pedagogical implications as well as research limitations are presented. Key words: Computer-Assisted Language Learning (CALL), Automatic Speech Recognition System (ASRS), segmental pronunciation, prosody, intonation, timing, learning strategies, mediation 電腦輔助語言教學語音辨識軟體超音段語調時長學習策略 prosody intonation timing learning strategies mediation segmental pronunciation
324	L’analyse phonostylistique du discours politique oral de Dominique de Villepin / The phonostylistic analysis of Dominique de Villepin’s political oral discourse Abdulbaqi, Ibrahim Khaleel 10 November 2011 (has links) Notre thèse focalise sur une analyse phonostylistique du discours politique oral de M. Dominique de Villepin. Une étude qui aborde les variations de son style vocal dans plusieurs de ces discours oraux, d'une manière qui nous permet d'analyser les éléments discursifs et prosodiques tout au long de ses discours politiques. L'étude portera sur le double codage (linguistique et paralinguistique) caché derrière ses propos politiques. Notre corpus d'étude est l'ensemble d'échantillons tirés d'entretien, débat, conférence, interview. Cette étude, par ailleurs, soulève sa compétence discursive et communicationnelle manifestée quant à l'emploi des unités linguistiques, prosodiques, et discursive perçus comme un rôle praxéologique de pratiques sociales, politiques et de l'expérience dans son discours. Au niveau discursif, l'étude analyse des éléments pragmatiques tels que le tour de la parole les temps verbaux et les effets persuasifs. Au niveau phonostylistique, plusieurs phénomènes prosodiques de valeurs phonostylistiques (intonation, mélodie, accent et pause) seront analysés à l'aide du logiciel Praat pour connaître les différentes rôles pragmatiques et énonciatives en termes de stratégie de persuasion de cet homme politique. La thèse consiste à démontrer le rôle de ces phénomènes prosodiques dans l'établissement des informations nouvelles capables de transmettre un deuxième message vocal à son public. Ce message phonostylistique, qui renforce le premier message discursif des forces illocutoires, rajoute au style de Dominique de Villepin un nouveau procédé d'influence et de convaincre sur un public auditoire. / This thesis studies the phonostylistical analysis of Mr. Dominique de Villepin's political oral discourse. A study which requires several of his vocal style in his different oral speeches in a way that allows us to analyze the discourse and prosodic elements throughout his political speeches. The study will focus on the dual coding (linguistic and paralinguistic) hidden behind his political purposes. The corpus of study is the set of samples taken from his different speeches: debate, conference, interviews. This study also rises to explain his discursive and communicative competence which is manifested by using linguistic, prosodic and discursive units in order to disclose the praxeological role of social practices, political roles and the role of experience in his speeches. Concerning the discursive level, the present study aims to analyze the pragmatic elements such as the tour of speech and verbal and persuasive effects. Concerning the phonostylistical level, several of phonostylistic phenomena which have prosodic values (intonation, melody, accent and pause) are analyzed under the Praat software to identify different pragmatic and enunciative roles in terms of persuasive strategy of this political man. The thesis is to demonstrate the role of prosodic phenomena in the establishment of new information, capable of transmitting a second vocal message to his audience. This phonostylistical message, which supports the first message carried through discursive illocutionary forces, adds to the style of Dominique de Villepin a new method to influence and persuade the public audience Discours politique Phonostylistique Interactions verbales Forces illocutoires Prosodie Paralinguistique Locuteur Auditoire Messages discursifs Accent d’insistance Contour intonatif Débit Suprasegmental Logiciel Praat Political speech Phonostylitics Illocutionary forces Prosody Paralinguistic Speaker Audience Discursive message Verbal interactions Stress accent Intonation contour Flow Pause Praat software 401.4
325	Contribuições da fonética acústica para a formação do professor de ingles: Um estudo de caso Aguena, Assunta Manzi 20 October 2006 (has links) Made available in DSpace on 2016-04-28T18:23:22Z (GMT). No. of bitstreams: 1 LAEL - Assunta M Aguena.pdf: 7858063 bytes, checksum: 5132d82bef108bfd802b3da32d81774a (MD5) Previous issue date: 2006-10-20 / This dissertation aims at investigating the rhythmical and intonation aspects of the English production by a fluent speaker of this language whose mother language is Portuguese, having as a reference the production of a native speaker of English, and thus, to inspect how and in which level the phonological-phonetic processes related to sounds, rhythm and intonation of the target language are transferred to the mother language prosody. The relation between the sound production and the prosody can be seen in the connected speech provided by sound modifications in the juncture between words, in the use of pauses, assimilation, reduction and elimination of sounds, among others. The corpus, comprised of 40 sentences from the film Dozen by the Cheaper was used to get closer to a connected speech production. The sentences were typed in individual cards and read six times by each subject, both female, between 25 and 30 years old, and the cards were shuffled before each repetition. The six reading recordings were done at PUC-SP s Radio and TV studio. The data analysis was provided by the Acoustic Phonetic using duration measures (time a sound takes to be produced) and the variation of the fundamental frequency (tone variation during the speech) based on the waveform ranged to the wide-band spectrograms, extracted from the speech signal digitalized by an acoustic analysis program. Some sentences from the corpus were chosen to the analysis, and consonantal and vowel segments were measured. Duration measures and f0 charts were made in order to observe how much the subjects got closer or farther to the sound production, and to the English rhythm and intonation due to the Brazilian Portuguese interference. The final results point that: (1) the sound production, English rhythm and intonation are related to the connected speech, the mother language (in this case, the Brazilian Portuguese) interfere in the sound production and English prosody, but, an important aspect is that this interference is not categorical, it can occur or not and, if it occurs, it must be done in different levels; and (3) the Acoustic Phonetic provides some advantages to the teaching and learning of a foreign language rhythm and intonation, in so far as the different production aspects can be observed, making possible that the Brazilian English teacher makes clear the differences between the mother language and the target one to the students, differences that can or can t be noticed or produced by the students, and in different levels / Esta dissertação de mestrado tem como objetivo investigar os aspectos rítmicos e entoacionais na produção do inglês por um falante proficiente nessa língua e nativo do português brasileiro (PB), tendo como referência a produção de um falante nativo do inglês, e assim inspecionar de que modo e em que grau processos fonético-fonológicos da relação entre sons e ritmo e entoação da língua-alvo são mapeados na prosódia da língua materna. A relação entre a produção de sons e prosódia é observada na fala corrente por meio da transformação de sons na juntura entre palavras, do uso de pausas, da assimilação, redução e/ou apagamento de sons, entre outros. Para aproximar-se de uma produção de fala corrente, foi utilizado um corpus composto por 40 sentenças, retiradas do script do filme Dozen by the Cheaper (Doze é Demais), as quais foram digitadas em fichas individuais e lidas por cada sujeito, ambos do sexo feminino e na faixa etária entre 25 e 30 anos, em seis repetições, sendo as fichas embaralhadas antes de cada repetição. A gravação das leituras foi feita no Estúdio de Rádio e TV da PUC-SP. A análise dos dados foi feita por meio da Fonética Acústica, a partir de medidas de duração (tempo que um som leva para ser produzido) e da variação da freqüência fundamental (variação de tons durante a fala), realizadas com base na forma da onda alinhada a espectrogramas de banda larga, extraídos do sinal de fala digitalizado, por um programa de análise acústica. Foram selecionadas algumas sentenças do corpus para análise, nas quais foram medidos segmentos acústicos correspondentes a vogais e consoantes. Em seguida, foram elaborados gráficos das medidas de duração e f0 para observar o quanto os dois sujeitos aproximavam-se ou distanciavam-se na produção dos sons e do ritmo e entoação do inglês em função da interferência do português brasileiro sobre o sujeito não-nativo. Os resultados obtidos indicam que: (1) a produção de sons e do ritmo e entoação estão intimamente relacionadas na fala corrente; (2) há interferência da língua materna (neste trabalho, o português brasileiro) na produção de sons e prosódia do inglês; porém, o aspecto importante é que essa interferência não é categórica; podendo ou não ocorrer e, se ocorrer, fazê-lo em diferentes graus; e (3) a Fonética Acústica proporciona vantagens para o ensino e aprendizagem das questões rítmicas e entoacionais de uma língua estrangeira, na medida em que os diferentes aspectos da produção podem ser observados, possibilitando que professores brasileiros de inglês possam explicitar as diferenças entre a língua materna e a língua-alvo aos seus alunos, diferenças que podem ou não ser por eles percebidas e/ou produzidas, ou incorporadas, e em diferentes graus Ensino e aprendizagem de inglês Fonética Acústica Som e ritmo e entoação Língua materna e língua-alvo Lingua inglesa -- Fonetica Fonetica acustica English teaching and learning Acoustic Phonetic
326	Romancing the vernacular : Sammy Cahn and the enactment of request Holloway, Marilyn June 04 1900 (has links) The lyrics of Sammy Cahn played a dominant role in shaping the Golden Age of American light music. He remains the most successful lyricist in cinema history, in terms of Academy Awards and Nominations, yet he has received little acclaim for his achievements. This thesis explores the diverse constituents of his creative genius, focusing on his ability to “romance the vernacular”, and write “bespoke” material on request. The argument follows a chronological path, tracing the major influences on Cahn’s life: vaudeville and musical theatre, the growth of the film industry, and the collaborators and performers who helped him achieve a level of mastery that he sustained for nearly fifty years. Particular emphasis is placed on his relationship with Frank Sinatra, on both a personal and professional level. Cahn had an acute awareness of the human condition and his ability to convey a range of emotions to match mood and moment displayed consummate craft and intellect, with a self-confidence that bordered on bravado. His contemporaries in the Golden Age of popular song have received due recognition, yet little has been written about Cahn, whose appreciation of the interaction between spontaneity and creativity remains unsurpassed by fellow lyricists. He had an intuitive understanding of the vernacular and an instinctive ability to write to order. The imagistic texture of the lyrics coupled with the prosodic intonation demonstrate an intimate correlation between personality and composition which is supported by biographical content. The argument, augmented by an audio-documentary, develops systematically through a study of the lyrics, focusing on the cultural and musicological significance of Cahn’s oeuvre. The material for both the written text and the two accompanying CDs are from personal archives and the Margaret Herrick Library in Los Angeles, which is the repository for the Sammy Cahn Collection, bequeathed to that institution after the death of Cahn in 1993. / English Studies / D. Litt. et Phil. (English) Sammy Cahn Vitaphone Vernacular Vaudeville Parody Jule Styne Jimmy van Heusen Frank Sinatra Song lyrics Rhyme 780.268 English language -- Intonation English language -- Spoken English Cahn, Sammy -- Interviews Cahn, Sammy -- Songs and music Cahn, Sammy -- Appreciation Cahn, Sammy -- Friends and associates
327	Kilian Seeber a jeho přínos pro další výzkum v oblasti / : Kilian Seeber and his Contribution to the Development of Baštanová, Petra January 2017 (has links) This MA thesis is a descriptive theoretical study dealing with the work of the conference interpreter, teacher and researcher Kilian Seeber. The thesis explores individual fields of interest of Kilian Seeber and the results of his research. It describes mainly the cognitive load in simultaneous interpreting, prosody and intonation, but also ethical decisions in simultaneous interpreting and issues connected with training of trainers. Furthermore, the thesis presents Seeber's teaching and interpreting projects and, last but not least, the reaction to his work and its reception in the international interpreting community. Key words: Kilian Seeber, cognitive load, eye tracking experiment, pupillometry, prosody, intonation, ethical decisions, simultaneous interpreting, blended learning.
328	Prosodie akcentů ve fonologii masoretské hebrejštiny / Phonology of Masoretic Hebrew II: Accents As Prosody Hedánek, Jiří January 2017 (has links) A Dissertation Abstract to Phonology of Masoretic Hebrew II Accents As Prosody Jiří Hedánek řjh (2017) PMH II - Abstract Charles University, Faculty of Arts, Prague 1 Abstract The dissertation Phonology of Masoretic Hebrew: Accents as Prosody (2017) interprets Tiberian 'accents' as speech prosody marking. Traditionally, they are explained as signs for accenting, singing or syntax. But only some were placed on accents. They do not map well to music which has been shaped by local traditions more than the mark-up. Syntactic interpretation is based on dividing marks but many diverse marks link, no links lead outside of verses, some words have two different marks and simple verses often miss stronger dividers. Interpreting them as prosody explains why they gravitated to accent positions; why different musical renditions developed; why they often agree with syntax and sometimes they do not. First a general concept of prosody units is put forward. This is applied to Masoretic Hebrew and the focus turns to intonation. The previous dissertation Phonology of Masoretic Hebrew (2011) analyzed siluq, atnach, segolta, zaqeph, revia (also mugrash, and establishing garsha as a unit), geresh, gershayim, tevir, mercha (also kphula), tiphcha, tarcha and dechi. The 2017 dissertation analyzed (from printed editions, manuscripts...
329	Composing in Just Intonation Spoormaker, Gustav January 2024 (has links) This thesis deals with the development of methods for composition in Just Intonation (JI). The author (Gustav Spoormaker) has composed a three movement String Trio in Just Intonation largely based on the theoretical ideas of Harry Partch, Marc Sabat and Kristofer Svensson which incorporates influences from contemporary microtonal music, early western classical music, jazz, and various types of world and folk music. Established core concepts of Just Intonation are explained for the author to then present their own theoretical and aesthetic ideas based on their artistic work. These ideas mostly center around practical aspects of JI composition, through presenting tangible approaches to modality, harmony, and counterpoint with the goal of ensuring an artistic result that enables both performability (tuneability) and stylistic flexibility. Concrete examples from the author’s artistic work are brought up to illustrate these ideas. The artistic results of these methods are discussed as well as their practical implications for performance. Composition Just Intonation Microtonality Tuning Harmonic Series Subharmonic Series Harmony Counterpoint Modality Experimental Music String Trio Music Theory Harry Partch Ben Johnston Komposition Ren stämning Mikrotonalitet Stämning Övertonsserien Undertonsserien Harmoni Kontrapunkt Modalitet Experimentell musik Stråktrio Musikteori Harry Partch Ben Johnston Music Musik

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