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Acoustics, intonation and perception are fields that musicians deal with every day. Even so, they are rarely taught extensively in musical education. In my artistic project I investigated how new knowledge in these fields could work as a musical resource and inspire to new solo music for double bass.  My method has been to compose studies, to make use of this new knowledge in a musical setting. In the etudes I have isolated small areas such as; beating, multiphonics, overpressure, just intonation intervals, the pitch-rhythm continuum, difference tones and microtonal modulation. This work has changed my view of the concept tone, interval and consonance/dissonance. Working this way has triggered a lot of inspiration and productivity for new unexpected music. This text could be useful for double bass or string players, composers for double bass, musicians that want inspiration in solo playing or incorporate Just Intonation in their musical language. / <p>Ten Variations of D</p><p>Oaktree</p><p>Intoning</p><p>Examenskonserten</p><p>Vilhelm Bromander kontrabas &amp; komposition</p><p></p><p>Two Seconds </p><p>Vilhelm Bromander - kontrabas &amp; komposition, Benedikt Bindewald - viola</p>

published_or_final_version / Psychology / Doctoral / Doctor of Philosophy

Natural language enables speakers to organize and highlight the information they want to convey. The linguistic analysis of this organization, known as Information Structure (Lambrecht, 1994), investigates the different strategies used in various languages to mark important information, such as focus constituents, within larger utterances. Research on K'ichee' has predominantly documented the syntactic strategies used to mark constituents for focus and has yet to analyze the role of intonation (Can Pixabaj & England, 2011). While the use of intonation in focus marking in different varieties of Spanish has received more attention than in K'ichee', the consideration of its role within bilingual contexts is under documented (O'Rourke, 2005; Simonet, 2008). This dissertation addresses these gaps in the literature by analyzing the intonational contours associated with contrastive focus constituents in both languages of Spanish-K'ichee' bilinguals and comparing these contours cross-linguistically. These analyses investigate different suprasegmental features of contrastive focus within different syntactic structures and their correlation with the individual level of language dominance of each bilingual. This study provides evidence that these bilinguals prosodically mark contrastive focus in both languages in similar ways. The first significant finding is that an earlier alignment of the intonational events, and not a greater pitch span, is the most consistently used strategy in both languages. Additionally, while a greater pitch span is not consistently used to mark contrastive focus, it is the only suprasegmental feature that is correlated with bilingual language dominance in both Spanish and K'ichee'. Finally, while some dialect-specific phonological features provide evidence of transfer between the two languages, the features that are the most similar in both languages and possibly the most prone to convergence are the same that are consistently used to mark contrastive focus, i.e., the alignment of intonational events. The present study contributes to the ongoing analyses of Information Structure, intonation, and bilingualism, and it is proposed that frameworks such as the Autosegmental-Metrical model of intonation (Pierrehumbert, 1980), Accomodation Theory (Giles & Powesland, 1975), and the Effort Code (Gussenhoven, 2004) can be extended to these findings on the role of the location of intonational events in both prosodic contrastive focus marking and convergence of intonational systems of bilinguals. / text

The present study is an investigation of certain aspects of the relationship which exists between the development of language of a child and the speech of his mother. An attempt was made to investigate the evolving speech pattern of the child as he is influenced by the speech patterns of his mother. Can one determine the age at which infants begin to develop speech similar to the speech patterns (intonation, phonemic content, distinctive feature content, place and manner of articulation) of their mother's speech?

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

“Eclipses” orchestrates the movements of human beings as celestial bodies—as wandering beings that emit waves, cycle in orbit, and create shadows. Subtle microtonal movements, or retunings of the same pitch, tell the story of gradual planetary motion leading to the drama of the eclipse. In the dimmed light of a solar eclipse, even the most familiar surroundings seem unfamiliar and strange. The harmonic material of “Eclipses” was composed using the Rainbow Harmony Matrix, a MaxMSP-based mouse and keyboard interface designed for real-time interaction with a 2D colorized pitch space defined by Just Intonation ratios. The most difficult coding in this patch was completed thanks to the generous help of Jean-François Charles. The spatialization and color-coding of Just Intonation pitches provided by the Rainbow Harmony Matrix proved invaluable to organizing harmonic and melodic material. Elements of rhythm, timbre, and articulation were largely left to the ear’s intuition. “Penumbra” magnifies the shadow cast when one celestial body partially obscures the light from another. Moments from “Eclipses” are revisited through a telescopic lens, such that the small whole number relations hiding in the harmonies are magnified, into the field of rhythm. Small gestures orbit each other in wandering motion, building a web of cause and effect. The harmonic material from “Penumbra” is extracted from two chords occurring in measures 41-43 of “Eclipses.” The small whole number frequency ratios governing the cross-relations of these two chords are magnified and modified to create polyrhythms that cycle over several minutes.

In this dissertation, I examine the marking of focus and givenness in Nte?kepmxcin (Thompson River Salish). The focus is, roughly, the answer to a wh-question, and is highlighted by the primary sentential accent in stress languages like English. This has been formalized as the Stress-Focus Correspondence Principle. Given material is old information, and is de-accented in languages like English. Nte?kepmxcin is a stress language, but marks focus structurally. However, I argue that the structure has a prosodie motivation: the clause is restructured such that the focus is leftmost in the intonational phrase. It follows that Salish focus structures lack the special semantics that motivates the use of English structural focus (clefts). As a theoretical contribution, I show that the Stress-Focus Correspondence Principle does not account for focus marking in all stress languages, nor does the "distress-given" generalization account for the marking of given information. This is because focus surfaces leftmost, while the nuclear stress position is rightmost. Instead of "stress-focus", I propose that alignment with prosodie phrase edges is the universally common thread in focus marking. This mechanism enables listeners to rapidly recover the location of the focus, by identifying coarse-grained phonological categories (p-phrases and i-phrases). In Thompson River Salish, the focus is associated with the leftmost p-phrase in the matrix intonational phrase. The analysis unifies the marking of focus across languages by claiming that focus is always marked prosodically, by alignment to a prosodie category. The study combines syntactic analysis of focus utterances with their phonetic realization and semantic characteristics. As such, this dissertation is a story about the interfaces. This research is based on a corpus of conversational data as well as single sentence elicitations, all of which are original data collected during fieldwork. The second contribution of this dissertation is thus methodological: I have developed various fieldwork techniques for collecting both spontaneous and scripted conversational discourses. The empirical contribution that results is a collection of conversational discourses, to add to the single speaker traditional texts already recorded for Nte?kepmxcin.

Diss.--Greifswald, 2000. / Bibliogr. p. [247]-265. Index.