This thesis is a detailed investigation of the phonology and phonetics of the intonation of Persian carried out in the framework of the AM theory of intonational phonology. Based on 2112 utterances read by a total of 8 native speakers, the work, on the one hand, presents a phonological account of the prosodic structure of this language, a structure that consists of the level Accentual Phrase with the pitch accent (L+)H* immediately dominated by the level Intonational Phrase, each level being marked by a low or high boundary tone. On the other hand, it scrutinizes the phonetic implementation of tones with regard to segments and shows how the phonology of Persian intonation is phonetically realized in the speech string. This research also studies the intonational patterns of simplex sentences, compound sentences coordinated with different types of conjunctions, subordinate structures, and vocative constructions. The sentence types include copular verb declaratives, sentences with unaccusative and unergative verbs, (S)(O)V sentences with and without adjuncts, null subject sentences, scrambled sentences, yes/no questions, leading yes/no questions, alternative questions, tag questions, single and multiple WH-questions, echo questions, imperatives, and single, double, and phrase focus constructions.

The purpose was to measure any statistically significant differences in pitch-matching skills among three classes of third grade students when using either adult male voice, piano, or resonator bells as melodic models for rote instruction of classroom singing. Each class was randomly assigned one of the three melodic models for a ten week treatment phase. Results indicated no significant differences in pitch matching skills between any of the three groups. No significant differences in pitch matching skills were found according to gender of subjects or among class piano students and non-piano students. Findings indicated overall improvement in pitch matching skills of subjects from pre-test to post-test phase.

Previous experiments have shown that voice pitch (the perception of fundamental frequency and/or corresponding harmonics) is positively associated with women’s voice attractiveness, however all of this research is on women’s speaking voices. Singing is important for the mating success of non-human animals, is cross-culturally universal in humans, and is highly sexualized in many cultures. Thus, singing could contribute to mating success and attraction in humans. First, we investigated whether previous findings, that high voice pitch when speaking predicts women’s voice attractiveness, extend to when women sing. We also examined whether pitch- and rhythm accuracy contribute to women’s singing voice attractiveness. Voice pitch was positively related to women’s singing voice attractiveness as judged by men more than when judged by women, and speaking voice attractiveness was positively related to singing voice attractiveness. Thus, men and women may be reacting to the same indicator of women’s underlying quality (i.e. voice pitch) in both women’s speaking and singing voices, differently. Men may be attracted to high pitch, whereas women may show a weaker relationship, as they tend to be more romantically jealous of women with high pitched voices. Pitch- and rhythm accuracy did not predict women’s singing voice attractiveness. This result can be interpreted in different ways. It could mean that women’s voice pitch may be more important in determining men’s perceptions of their singing voice attractiveness than is their singing ability, or our measures were ill suited to the task. Collectively, these results are the first to show that singing voices are more attractive than speaking voices, people with attractive speaking voices tend to have attractive singing voices, and that singing and speaking voices relate to the same underlying qualities. Thus, singing may be an indicator of mate value and could have played a role in the evolution of sex differences in the voice if our ancestors had similar preferences. / Thesis / Master of Science (MSc)

Studien undersöker hur självupplevt absolut gehör (SAG) påverkar musikundervisningen i skolan. Fyra musikpedagoger med SAG har intervjuats och gett sin syn på fenomenet; hur de anser att deras SAG färgar/påverkar musikundervisningen och deras didaktik samt hur det påverkar deras eget musicerande. Semistrukturerade intervjuer har använts som metod. Resultatdelen visar att SAG är till stor nytta vid transkribering av musik, vid ensembleundervisning och i det personliga musicerandet. Informanterna menar att SAG gör dem mer fria och mindre pappersbundna när de musicerar med andra. SAG kan dock vara en belastning vid körledning/körsång (särskilt då körens tonhöjd stiger eller sjunker) och i situationer då transponerade instrument används. Informanterna anser inte att deras SAG har haft några negativa effekter på deras relativa gehör (RG).

No description available.

The pitch process is critical for both clients and agencies as it is the time period when clients are trying to identify the best agencies to hire and agencies are trying to win business. There are a multitude of variables that play a large role in the success of a client-agency relationship; however, the specific actions, events, and dynamics that occur during the pitch process can be especially important in setting the tone and influencing the outcome of the partnership. Many studies have examined various dynamics and phases of the client-agency relationship, but few have specifically focused on the earliest phase; the pitching process. This study fills this void by providing insights from clients, advertising agencies, and third-party consultants involved in all aspects of the pitching process to better understand the dynamics of the beginning stages of the client-agency life cycle. The literature review examines personal relationships, business relationships, and client-agency relationships and includes examples of relationship development models. Although these models provide a good backdrop for the way a client and an agency develop their relationship, they do not delve into specific aspects of the Pitch. Social Exchange Theory (SET) and Expectancy Confirmation Theory (ECT) provide insights both into how the pitch process facilitates exchange between clients and agencies and the ways in which all parties involved in a pitch have certain expectations. The extent that expectations are either confirmed or disconfirmed can lead to increased or decreased satisfaction with the overall pitch process. The four main research questions driving this study related to attraction, trust, and satisfaction. Respondents were asked how both attraction and trust were experienced and could be accelerated during the pitch process and were asked to identify the various components that were involved in the “most-satisfying” and “least-satisfying” pitches. The results indicated that both logistical and relational factors played a key role in the way in which a pitch process was experienced and although clients, agency professionals, and consultants shared many thoughts, each constituency offered a unique perspective. This research brings attention to the level of disconnect that occurs among the various constituencies and makes recommendations regarding ways to improve the pitching landscape. / text

No description available.

Music published in Venice, Italy in the first half of the seventeenth century includes a substantial amount specifying the trombone. The stylistic elements of this repertoire require decisions regarding general pitch, temperament, and performing forces. Within the realm of performing forces lie questions about specific instrument pitch and compositional key centers. Limiting this study to repertoire performed and published in approximately the first half of the seventeenth century allows a focus on specific performance practice decisions that underline the expressive elements of the repertoire. Using the trombone in A allows the performer several advantages over using the trombone in B-flat. Matching the instrument to the music is more than good decorum, it yields a more effective performance of the rhetorical and expressive elements imbedded in the music, satisfying the goal of music in this early seventeenth-century “modern” style.

Precise pitch is important to musicians. We created algorithms for real-time pitch detection that generalise well over a range of single �voiced� musical instruments. A high pitch detection accuracy is achieved whilst maintaining a fast response using a special normalisation of the autocorrelation (SNAC) function and its windowed version, WSNAC. Incremental versions of these functions provide pitch values updated at every input sample. A robust octave detection is achieved through a modified cepstrum, utilising properties of human pitch perception and putting the pitch of the current frame within the context of its full note duration. The algorithms have been tested thoroughly both with synthetic waveforms and sounds from real instruments. A method for detecting note changes using only pitch is also presented. Furthermore, we describe a real-time method to determine vibrato parameters - higher level information of pitch variations, including the envelopes of vibrato speed, height, phase and centre offset. Some novel ways of visualising the pitch and vibrato information are presented. Our project �Tartini� provides music students, teachers, performers and researchers with new visual tools to help them learn their art, refine their technique and advance their fields.

Thesis (Ph. D.)--Open University. BLDSC no. DX202835. / 2 volumes.