Esta pesquisa descreve a entoação da língua portuguesa falada por mulheres guatós, fazendo comparação com mulheres não-índias. Foram analisadas as falas de quinze sujeitos. Descreve também a imanência da prosódia da língua guató, adquirida na infância, das guatós, mesmo depois de muito convívio com a população de Corumbá. Os dados foram obtidos por meio de pesquisa de campo e pesquisa bibliográfica. A análise e tabulação dos dados realizaram-se por meio do aplicativo ExProsodia. A análise centrou-se especificamente nas finalizações de frases em contexto diverso daquele dos falantes da língua portuguesa. Os resultados obtidos apontaram para a diferenciação na finalização das frases da categoria das meninas corumbaenses em relação às senhoras corumbaenses e às senhoras guatós, que não fizeram finalização descendente de frases assertivas. A diferenciação entre as senhoras guatós e as senhoras corumbaenses manifestou-se no tom médio das frases assertivas. / This research aims at describing the intonation of the Portuguese spoken by Guató women and comparing their intonational patterns to the ones produced by non Guató women. We analyzed the speech of fifteen subjects and observed that the Guató prosody, which is the language acquired in their childhood, remains although our subjects have been living with people from Corumbá for a long time. The data were collected through field research and a literature review. Analysis and tabulation of data were conducted using the software ExProsodia. The analysis focused specifically the end of sentences in different contexts from those in the speech of non Guató women. The results pointed out to differences at the end of sentences produced by young Corumbá women in relation to the production of old Guató and Corumbá women, who did not produce the falling contour of assertive sentences. The difference between the production of Guató and Corumbá women was found in the middle tone of assertive sentences.

Orientador: Maria Bernadete Marques Abaurre / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-02T08:08:13Z (GMT). No. of bitstreams: 1 Tenani_LucianiEster_D.pdf: 9678681 bytes, checksum: 2fd8536421385202a0d8483feb565c14 (MD5) Previous issue date: 2002 / Resumo: Esta tese trata da estrutura prosódica do Português Brasileiro e a compara com a estrutura do Português Europeu. Para realizar essa comparação, são consideradas evidências entoacionais, segmentais e rítmicas dos três domínios mais altos da hierarquia prosódica, a saber: a frase fonológica, a frase entoacional e o enunciado fonológico. No Português Brasileiro, não foram encontradas evidências segmentais mas apenas evidências entoacionais dos três domínios prosódicos investigados. Esse resultado difere do que é encontrado no Português Europeu que presenta evidências entoacionais da frase entoacional e evidências segmentais de ser esse um domínio prosódico composto. As evidências entoacionais dos domínios no Português Brasileiro apresentam o desafio de formalizar teoricamente o problema da manifestação fonética das variações de altura que expressam relações fonológicas as quais podem ocorrer entre os constituintes prosódicos em diferentes níveis da estrutura. A análise de contextos de bloqueio da degeminação e da elisão revelou que, nas duas variedades do Português, há restrições que atuam no domínio da frase fonológica de modo a bloquear a configuração de estruturas rítmicas mal formadas. Também se verifica um efeito de direcionalidade esquerda/direita, o qual decorre de uma restrição que preserva a proeminência do acento mais à direita da frase fonológica. As duas variedades estudadas diferem entre si nas estratégias disponíveis para a resolução do choque de acentos. A consideração dos resultados da aplicação dos processos de vozeamento da mcativa, tapping, haplologia, degeminação, elisão e ditongação embasou a reflexão sobre as possíveis relações entre processos fonológicos que afetam a estrutura silábica e a implementação de um padrão rítmico preferencial. Foram apontados indícios de que o Português Brasileiro seja mais predominantemente de ritmo silábico que o Português Europeu. Essas diferenças rítmicas decorrem, em certa medida, das diferenças na organização hierárquica dos domínios prosódicos. Desse modo, as evidências encontradas revelam como a estrutura prosódica acaba por gerar as semelhanças e as diferenças entre as duas variedades do Português / Abstract: This thesis deals with the prosodic structure of Brazilian Portuguese and with the comparison between Brazilians Portuguese's structure and European Portuguese's structute. In order to make a comparison between the two, we are considering intonational, segmental and rithmic evidences of prosodic, that are hierarchically superior to the phonological word. These domains are: phonological phrase, intonational phrase and phonological utterance. In Brazilian Portuguese, no segmental evidences was found; only intonational evidences on these three prosodic domains. This differs from European Portuguese which has both intonational and segmental evidences for intonational phrase as an important prosodic domain. The intonational evidences in Brazilian Portuguese challenge us with the issue of theoretically understanding the phonetic manifestations of pitch variations - which express phonological relations - that can happen between prosodic constituents at different structure levels. Some considerations were aiso made on the relationship between phonological processes and rhythm. These reflections were based on the results from occurring the following six processes: fricative voicing, tapping, syllable degemination, vowel merger, vowel deletion and semi-vocalization. There are indications that Brazilian Portuguese is more a syllable-timed language than. European Portuguese. We argue that these rhythmic differences are related to the prosodic hierarchic structural differences of each variety of Portuguese. The evidences found allow us to demonstrate how the prosodic structure is relevant in explaining the prosodic characteristics of Brazilian and European Portuguese / Doutorado / Doutor em Linguística

This paper provides a system that helps diagnose and address the specific challenge to cellists of intonation in any passage. Learning to play consistently in tune is essential for every cellist. In the over three hundred years of cello history, teachers have tried approaching the topic from a variety of perspectives. While each technique is useful in its own right, there is scant attention to how they work together. Viewing intonation through its component sub-skills is the first step toward integrating existing exercises and paving the way for further advances in pedagogy. The following paper categorizes training techniques according to the sub-skills of playing consistently in tune. This approach makes the learning and teaching of intonation manageable and approachable to cellists at all levels. What we do before the note, How we play the note, What we do after the note, and Putting it all together are the four broad categories of sub-skills identified. Within each of these sections, relevant exercises are presented and their efficacy explained. Examples are drawn from a wide range of sources including music education, my own educational experiences, music psychology, the Alexander Technique, cello pedagogy, professional cello teachers’ responses to a questionnaire, physiology, and neuroscience. By integrating published research in these areas, this paper provides a more comprehensive understanding of intonation. Instead of a wealth of techniques each claiming to resolve the challenge of playing in tune, the introduction of sub-skills allows for a methodological approach to intonation pedagogy.

The theory proposed in this thesis, Phonological Pitch, concerns the representation and behavior of the tone feature. It is a formally simple phonological theory constrained by a set of explicit extragrammatical principles. Phonological Pitch contains two major grammatical mechanisms. First, tone is represented with a single multivalued feature (Pitch) whose value can range from 1 to n, where n is a language-specific number with no universal upper limit. Second, the Contiguity Hypothesis states that tone groups in rules must always form contiguous sets, though these groups can vary from rule to rule. Phonological Pitch can be so simple because the power of the grammatical theory is constrained with independently necessary extragrammatical factors. Specifically, limits on the number of tone levels arise from learnability and perceptual constraints, which can be precisely formalized, that also play a role in nonlinguistic domains. Similarly, the Contiguity Hypothesis is derived from psychoacoustic constraints on discriminating between acoustically similar pitches. Other perceptual and physiological constraints explain patterns in the typology of contour tones and in the interactions of tone with other features. The empirical support for Phonological Pitch includes the following. First, languages are attested with as many as five distinct tone levels, and the number of languages with n tone levels gradually decreases as n increases, rather than dropping off abruptly at some point. An analysis using learnability and perceptual constraints can explain this gradual drop better than a universal grammatical upper limit. Second, tone rules can transpose sets of tones up or down by a fixed interval, a fact which is easier to formalize with a single multivalued feature than with a set of binary features. Third, tone groups do not form universal natural classes nor groups with noncontiguous tones, as other tone theories predict. Fourth, tone interacts not only with laryngeal features like voicing, but also with nonlaryngeal features like vowel height, and both the existence and relative rarity of tone-vowel height interactions imply that understanding tone interactions requires reference to extragrammatical physiological factors.

Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir‟s intonation.

This thesis is a description of the prosodic patterns in Jaminjung, a language spoken in the Victoria River District in the Northern Territory of Australia. It is a quantitative and qualitative examination of the features associated with the intonational phenomena in Jaminjung. It is based on the idea that, while some aspects of prosody may be universal, each language has its unique characteristics. In this study I will make use of the PENTA model of intonation, a recent development that places communicative functions and articulatory constraints at the core of prosody, thus providing a clear explanation of prosodic phenomena, linking phonetics to semantics. The analyses are based on carefully selected representative tokens of the speech used in specific communicative situations by the Jaminjung speakers from recordings of spontaneous speech. The features associated with the grouping function, that is, in the demarcation or organization of a string of words (or rather syllables) into chunks, are examined. Four main prosodic constituents are recognized: the prosodic word, the phrasal constituent, the intonation unit, and the prosodic sentence. They are distinguished at their left boundaries by pitch resets which increase from unit to unit. The larger constituents are cued at the right edge with F0 lowering and syllable lengthening, cues associated with finality in many languages. The encoding parameters of some major information structural categories, topic and focus and contrast are investigated. A prominence is usually perceived on the first syllable in the focus domain. A [fall] pitch target is associated with this syllable; it is also marked by wider pitch excursions and longer durations. Topics, for their part, are marked by a [high] target on their initial syllables. The prosodic encoding of topics follows a scale of 'givenness', where more given topics are less marked than less given topics. Contrast in focused arguments and topics is encoded with a [fall] target on the initial syllable and thus share this feature with focus, but they also display a wider pitch excursion on all the syllables. This last feature marks contrast as an independent information structure category from focus and topic. Declaratives, interrogatives and imperatives sentences are all predominantly uttered with a falling contour, however, they are clearly differentiated by pitch register - declaratives use lower reaches, imperatives higher reaches, and interrogatives somewhere in between.

This dissertation investigates articulatory characteristics of English /I/ in child speech. The study is primarily based on experimental data collected using ultrasound imaging techniques from eight English children ages 3;11 to 5;9. Replicating previous articulatory studies of syllable-based allophones of /I/ in adult speech production, the articulatory components of III in child speech production are analyzed for the static information and relative timing between tongue movements. Secondarily, the acoustic analysis of this data and its perception judgments by adults are presented.' One of the major findings of this study is that children at these ages produce /I/ using different spatial and temporal coordination than adult speech production, although some children produce /I/ more similar to adult /I/ in terms of articulatory organization. Further, the findings are addressed in relation to speech motor development, and hypotheses are tested to see which motor developmental process(es) (differentiation, integration, refinement) can describe the acquisition of /I/. The ultrasound results of the tongue movements in children's /I/ indicate that all general motor developmental processes are active in these children, and the spatial and temporal coordination of the articulatory gestures of /I/ is rather simplified or modified, and needs to be further refined. I argue that the tendency toward late acquisition of /I/ is due directly to the articulatory complexity of its spatial and temporal characteristics. This work contributes much-needeid empirical data of the articulatory characteristics of /I/ to both language acquisition and speech sciences and constitutes a novel application of ultrasound imaging to child speech research. Organization of this dissertation is as follows. Subsequent to the overall introduction of the study in Chapter 1, Chapter 2 presents the empirical background and hypotheses for the study. It reviews speech and developmental studies in production and perception conducted by other researchers, and proposes empirical questions. Chapter 3 provides the methodology for the study. It introduces ultrasound techniques and experiment design and procedure. Chapter 4 presents the results of the spatial characteristics of the children's /I/ in terms of number of gestures, tongue shape, constriction location, and allophonic variation with respect to different syllable positions. Chapter 5 discusses the results of the temporal characteristics of the children's /I/ gestures. Inter-gestural timing of allophones of /I/ is examined to determine whether timing distinguishes positional allophones in these children's speech. Chapter 6 provides post-experiment perception judgments made by adults, and acoustic analysis of samples of tokens used in the current study. Finally, Chapter 7 summarizes the results and discusses the implications of the dissertation. / Arts, Faculty of / Linguistics, Department of / Graduate

Made available in DSpace on 2017-06-01T18:24:33Z (GMT). No. of bitstreams: 1 dissertacao_luciana_virginia.pdf: 7741794 bytes, checksum: f8b55b78388efdb6d313b4e14b4369cf (MD5) Previous issue date: 2010-05-04 / For some peoples, the act of reading is seem easy and pleasant for others is a sacrifice without favorable prospects. School practices often do not prepare the student to be a proficient reader, but to perform a ritual of the curriculum of Portuguese Language. The read result of organized thought, prior knowledge and shared in the interactive action to which they add the linguistic-prosodic features (stretches, tones, change the pace and the time of the voice) and (repetition, pausing, hesitation and interruption). This research is a qualitative analysis of reading shared between teacher and student. It is based on discourse analysis, taking as its starting point the Interactional Theory of Intonation (TIE) of Brazil (1985), who realizes that the clues provided by the reader / listener / author / text are constitutive of meaning and tone choices made by persons, aid in the construction of meaning in spoken language and this sense is directly linked to the understanding of written text. When there is constructionof meaning in oral language, has been a reflection of deconstruction in the writing process. The corpus for this research consists of reading from two different text types: a chronic Discovery (1991), written by Luis Fernando Verissimo, and the poem Sobradinho, of the authors Sa e Guarabira (1973). Two criteria were established for the choice of texts. First, because the chronic and the poem are the object of study covered in the syllabus of classes of the 7th year of fundamental education. Second, because the chronic kind, has a captivating episode, the plot involves a series of actions, with brief and reflective approach, with digressions, comments or notes essay. And the poem, because it has characteristics like melody, rhythm and rhyme, producing harmony, moving between the syllables and unstressed syllables. It was also evidenced the distinct choices of standard intonation, as well as words prominence and impact of those choices in the comprehensive analysis of text. It was noticed that the pause, repetition, hesitation, stretching, exchanges and deletions of words change the meaning of understanding, and concluded that the language resources and para play an essential role in the construction of meaning of text. And when the teacher does not make use of these prosodic strategies as tools in the interactive process, makes the construction of meaning of text. / O ato de ler, para alguns, parece fácil e agradável, para outros representa um sacrifício sem perspectivas favoráveis. Nas práticas escolares, muitas vezes, não se prepara o aluno para ser um leitor proficiente, mas para cumprir um ritual da grade curricular de Língua Portuguesa. A leitura resulta do pensamento organizado, conhecimento prévio e partilhado na ação interativa ao qual se somam os recursos lingüísticos - prosódicos (alongamentos, entonações, alteração no ritmo e na altura da voz) e paralinguísticos (a repetição, a pausa, a hesitação e a interrupção). Esta pesquisa é uma análise qualitativa de leitura partilhada entre professor e aluno. Fundamenta-se na Análise do Discurso, tendo como ponto de partida a Teoria Interacional da Entonação (TIE) de Brazil (1985), que compreende que as pistas fornecidas pelo leitor/ ouvinte/ autor/ texto são constitutivas de sentido e que as escolhas tonais, feitas pelos interactantes, auxiliam na construção de sentido de texto oral, e este sentido está diretamente ligado à compreensão de texto escrito. Quando não há construção de sentido na oralidade, tem-se o reflexo da desconstrução no processo da escrita, o aluno lê, formando hipóteses de palavras que não estão no texto, estas hipóteses, por sua vez, interferem na resposta da análise compreensiva de texto escrito. O corpus para esta pesquisa é constituído a partir da leitura de dois gêneros textuais diferentes: a crônica A Descoberta (1991), escrita por Luis Fernando Veríssimo, e o poema Sobradinho, dos autores Sá e Guarabira (1973). Dois critérios foram estabelecidos para a escolha dos textos. Primeiro, porque a crônica e o poema são objeto de estudo contemplados no conteúdo programático de turmas do 7º ano do Ensino Fundamental. Segundo, porque o gênero crônica conta um episódio cativante, cuja trama envolve uma sucessão de ações, com abordagem breve e reflexiva, havendo digressões, comentários ou apontamentos dissertativos. Enquanto o poema apresenta características melódicas, ritmo e rima, produzindo harmonia, movimentação entre as sílabas átonas e tônicas. Foram verificadas escolhas distintas do padrão entoacional, bem como palavras com proeminência, e a repercussão dessas escolhas na análise compreensiva de texto. Percebeu-se que a pausa, a repetição, a hesitação, o alongamento, as trocas e supressões de palavras alteram o sentido da compreensão, e concluiu-se que os recursos linguísticos e paralinguísticos desempenham papel essencial na construção de sentido de texto. E quando o professor não faz uso destas estratégias prosódicas como ferramentas no processo interativo, dificulta a construção de sentido de texto.

Speakers break their otherwise continuous speech stream into meaningful segments, the edges of which are marked by audible cues such as pauses, rate changes and pitch movement. Prosodic boundaries, as these segment edges and the cues marking them are known, play a role critical to language processing and spoken language acquisition. While great progress has been made in quantifying the complicated range of acoustic cues that mark boundaries, little is understood about the cognitive processes by which these cues guide linguistic interpretation. Further, while prosodic boundary measures typically treat critical cues from pitch and timing independently, evidence suggests that pitch and timing are perceptually interdependent. In fact, pitch factors may at times distort perceived duration. This dissertation presents 3 pairs of perception experiments investigating pitch-­time interaction, including putative distortion of perceived duration from dynamic pitch and cross-‑silence pitch jumps (i.e., the kappa effect). Each pair uses the same set of stimuli, resynthesized with crossed continua of pitch and timing manipulations, in two different tasks: one psychoacoustic judgment of duration, and one of linguistic interpretation. Results suggest that perceptual interaction of major cues from timing (preboundary lengthening and pauses) and pitch (edge tones and reset) can be analyzed as reflecting gestalt-­like grouping principles (proximity, similarity and continuity) that have been shown to play a role in perceptual grouping in other cognitive domains, including vision and non-speech auditory perception. In addition to these potentially more cognitive­‐general principles, a new role is introduced for learned and potentially language-­specific patterns to prosodic grouping, in particular intonational schemas, i.e., recognizable cross-­phrase pitch patterns. Beyond this, results also support the hypothesis that perceived grouping is the driving force behind several types of pitch­based auditory illusions, including the auditory kappa effect. This dissertation offers insights into why prosodic boundaries are expressed with the particular pitch and timing cues that are common cross-­linguistically. While much language form is arbitrary, the expression of grouping by way of acoustic cues appears to be much less so. This research has potential toexplain the perceptual foundations of boundary cues, and therefore the cross-­linguistic similarities of prosodic grouping cues.

Bakgrund. Logopedisk röstbehandling vid könsdysfori syftar till att en individ ska ha en röst som stämmer överens med könsidentiteten. Ofta handlar det om att förändra rösten i en feminin eller maskulin riktning. Behandlingen bör enligt rekommendationer fokusera på intonation, men i nuläget saknas kunskap gällande intonationens inverkan på uppfattning av femininitet respektive maskulinitet i svensk kontext. Syfte. Syftet med föreliggande studie var att undersöka i vilken utsträckning talares intonation förklarar hur deltagare uppfattar grad av femininitet och maskulinitet i röster. Andra syften med studien var att undersöka om sambandet mellan lyssnarskattningar av femininitet och maskulinitet visar på en komplementär relation, samt om sambandets styrka i sin tur påverkades av lyssnarens ålder. Metod. Studien omfattade 60 deltagare som fick skatta grad av femininitet och maskulinitet hos 132 talare. Röstinspelningar analyserades utifrån 8 akustiska egenskaper (genomsnittlig f0, ST-variation, ST-slope, storlek och andel av stigande och fallande frasslutsintonation samt andel jämn frasslutsintonation). Resultat. Genomsnittlig f0 och ST-variation bidrog signifikant till lyssnarskattningar av femininitet samt maskulinitet. Andel stigande frasslutsintonation bidrog signifikant till lyssnarskattningar av femininitet. Samtliga lyssnardeltagare hade ett signifikant starkt negativt samband mellan sina femininitetskattningar och maskulinitetskattningar. Sambandets styrka hade en svag positiv korrelation med lyssnardeltagarens ålder, men detta samband var inte signifikant. Slutsatser. Genomsnittlig f0 och ST-variation bidrar till lyssnardeltagares femininitets- och maskulinitetsskattning och andelar stigande frasslutsintonation bidrar till deltagares femininitetsskattning. Studien visar att deltagare till stor grad har ett komplementärt sätt att placera in röster på ett femininitet-maskulinitetkontinuum. Yngre deltagare förefaller uppvisa detta komplementära sätt till en något större grad än äldre deltagare. / Uppfattningar av femininitet och maskulinitet i rösten bland personer med könsdysfori