Esta tese busca averiguar as relações entre entoação frasal no guarani e melodia de músicas populares paraguaias. Foram analisados falas e cantos de sujeitos do gênero masculino e feminino. Segue-se por base o modelo de análise proposto por Ferreira Netto (2006), que analisou a prosódia da língua portuguesa observando a frequência fundamental como uma série temporal. Os dados, colhidos por meio de pesquisa de campo, foram analisados com o uso do aplicativo ExProsodia. A análise centrou-se nas finalizações de canto e de fala guarani do Paraguai da sociedade paraguaia popular. Os resultados obtidos apontaram para finalizações predominantemente plagais tanto na fala quanto no canto. / This research aims at describing the relationship between the sentence intonation of the Paraguayan Guarani and the melody of Paraguayan popular songs. Ferreira Netto (2006) model of analysis was used. He analyzed the Portuguese prosody considering the fundamental Frequency as a temporal series. The data were collected through field research. Analysis and tabulation of data were conducted using the software ExProsodia. The analysis focused specifically the end of sentences of spoken Guarani and the melody of songs. The results pointed out that the end of the spoken sentences as well as songs were similar and mainly plagal.

Au cœur de cette thèse, la musicalité du pictural est défendue comme caractère absolu d'une quête artistique. Entendre la forme picturale implique d'en éprouver le déploiement comme espace et comme temps. Cela évoque la manière dont la musique et le son nous environnent et nous envahissent, en considérant la forme comme une entité en perpétuelle autogenèse. Une telle conviction s'ancre dans la pensée philosophique d'Henri Maldiney et dans celle d'Erwin Straus. Le sentir admet la réceptivité aux formes artistiques dans leur surgissement et dans leur devenir. A partir du sens du pittoresque promu par l'art baroque, la dimension formelle propre à la démarche se déploie comme un rythme sans se figer en une structure close. La peinture résonne dans son lieu comme un instant d'espace partagé : les notions de surface et d'échelle impliquent une entente temporelle du pictural. Tel est l'enseignement tiré de la collaboration avec le musicien et compositeur Joe Fee et du face à face avec la peinture abstraite américaine. La notion de justesse se charge ici d'une valeur plastique : l'intonation des formes dépend de leur mise en espace autant que de leur naissance dans la matière. La musique est le paradigme d'une errance des formes dont l'espace et le temps s'imprègnent. L'écoulement de la peinture répond à cette aspiration : il désigne les propriétés fluides du médium employé tout en évoquant une dimension temporelle propre au modèle musical et à l'expérience du vivant. Entre impermanence et renouveau, la forme a lieu par la justesse de son contexte. Dans l'instant provisoire de sa naissance, elle fait du pictural un lieu d'éclosion et du musical une aspiration première. / This thesis defends the musical quality of pictorial art as the absolute value of an artistic quest. Entendre the painting means experiencing its unfolding as space and time. The whole body becomes a receptacle for the rhythm of forms beyond the simple visual appreciation of an artwork. The pictorial form is felt as an entity in perpetual autogenesis, just as music and sound surround and invade us. Such conviction is anchored in the philosophical thought of Henri Maldiney and Erwin Straus : sensing (to sense) admits the receptivity to artistic forms in their emergence and in their becoming. The painterly quality of an artwork promoted by Baroque art inspired the formal dimension of this research. Shape springs as rhythm rather than structure.Painting resonates in a moment of shared space : the notions of surface and scale specify the temporal understanding of the pictorial, as well as the collaboration with musician and composer Joe Fee and the encounters with American abstract painting. The idea of intonation relies on the moment in which the form find its way through the material. The intonation of painting also depends on its spatialization. Music is the paradigm of a wandering that impregnates space and time. The flowing of painting corresponds to this aspiration : it designates the fluid properties of the material while evoking a temporal dimension peculiar to the musical model and to the experience of life. Between impermanence and renewal, a form takes shape by the intonation of its context, in the provisional moment of its birth. In the persona! practice of art, painting is the material place of a quest while music persists as its first aspiration.

Recipients of present-day cochlear implants (CIs) display remarkable success with speech recognition in quiet, but not with speech recognition in noise. Normal-hearing (NH) listeners, in contrast, perform relatively well with speech recognition in noise. Understanding which speech features support successful perception in noise in NH listeners could provide insight into the difficulty that CI listeners experience in background noise. One set of speech features that has not been thoroughly investigated with regard to its noise immunity is prosody. Existing reports show that CI users have difficulty with prosody perception. The present study endeavoured to determine if prosody is particularly noise-immune in NH listeners and whether the difficulty that CI users experience in noise can be partly explained by poor prosody perception. This was done through the use of three listening experiments. The first listening experiment examined the noise immunity of prosody in NH listeners by comparing perception of a prosodic pattern to word recognition in speech-weighted noise (SWN). Prosody perception was tested in a two-alternatives forced-choice (2AFC) test paradigm using sentences conveying either conditional or unconditional permission, agreement or approval. Word recognition was measured in an open set test paradigm using meaningful sentences. Results indicated that the deterioration slope of prosody recognition (corrected for guessing) was significantly shallower than that of word recognition. At the lowest signal-to-noise ratio (SNR) tested, prosody recognition was significantly better than word recognition. The second experiment compared recognition of prosody and phonemes in SWN by testing perception of both in a 2AFC test paradigm. NH and CI listeners were tested using single words as stimuli. Two prosody recognition tasks were used; the first task required discrimination between questions and statements, while the second task required discrimination between a certain and a hesitant attitude. Phoneme recognition was measured with three vowel pairs selected according to specific acoustic cues. Contrary to the first experiment, the results of this experiment indicated that vowel recognition was significantly better than prosody recognition in noise in both listener groups. The difference between the results of the first and second experiments was thought to have been due to either the test paradigm difference in the first experiment (closed set versus open set), or a difference in stimuli between the experiments (single words versus sentences). The third experiment tested emotional prosody and phoneme perception of NH and CI listeners in SWN using sentence stimuli and a 4AFC test paradigm for both tasks. In NH listeners, deterioration slopes of prosody and phonemes (vowels and consonants) did not differ significantly, and at the lowest SNR tested there was no significant difference in recognition of the different types of speech material. In the CI group, prosody and vowel perception deteriorated with a similar slope, while consonant recognition showed a steeper slope than prosody recognition. It is concluded that while prosody might support speech recognition in noise in NH listeners, explicit recognition of prosodic patterns is not particularly noise-immune and does not account for the difficulty that CI users experience in noise. ## Ontvangers van hedendaagse kogleêre inplantings (KI’s) behaal merkwaardige sukses met spraakherkenning in stilte, maar nie met spraakherkenning in geraas nie. Normaalhorende (NH) luisteraars, aan die ander kant, vaar relatief goed met spraakherkenning in geraas. Begrip van die spraakeienskappe wat suksesvolle persepsie in geraas ondersteun in NH luisteraars, kan lei tot insig in die probleme wat KI-gebruikers in agtergrondgeraas ervaar. Een stel spraakeienskappe wat nog nie deeglik ondersoek is met betrekking tot ruisimmuniteit nie, is prosodie. Bestaande navorsing wys dat KI-gebruikers sukkel met persepsie van prosodie. Die huidige studie is onderneem om te bepaal of prosodie besonder ruisimmuun is in NH luisteraars en of die probleme wat KI-gebruikers in geraas ondervind, deels verklaar kan word deur swak prosodie-persepsie. Dit is gedoen deur middel van drie luistereksperimente. Die eerste luistereksperiment het die ruisimmuniteit van prosodie in NH luisteraars ondersoek deur die persepsie van ’n prosodiese patroon te vergelyk met woordherkenning in spraakgeweegde ruis (SGR). Prosodie-persepsie is getoets in ’n twee-alternatiewe-gedwonge-keuse- (2AGK) toetsparadigma met sinne wat voorwaardelike of onvoorwaardelike toestemming, instemming of goedkeuring oordra. Woordherkenning is gemeet in ’n oopstel-toetsparadigma met betekenisvolle sinne. Resultate het aangedui dat die helling van agteruitgang van prosodieherkenning (gekorrigeer vir raai) betekenisvol platter was as dié van woordherkenning, en dat by die laagste sein-tot-ruiswaarde (STR) wat getoets is, prosodieherkenning betekenisvol beter was as woordherkenning. Die tweede eksperiment het prosodie- en foneemherkenning in SGR vergelyk deur die persepsie van beide te toets in ’n 2AGK-toetsparadigma. NH en KI-luisteraars is getoets met enkelwoorde as stimuli. Twee prosodieherkenningstake is gebruik; die eerste taak het diskriminasie tussen vrae en stellings vereis, terwyl die tweede taak diskriminasie tussen ’n seker en onseker houding vereis het. Foneemherkenning is gemeet met drie vokaalpare wat geselekteer is na aanleiding van spesifieke akoestiese eienskappe. In teenstelling met die eerste eksperiment, het resultate van hierdie eksperiment aangedui dat vokaalherkenning betekenisvol beter was as prosodieherkenning in geraas in beide luisteraarsgroepe. Die verskil tussen die resultate van die eerste en tweede eksperimente kon moontlik die gevolg wees van óf die verskil in toetsparadigma in die eerste eksperiment (geslote- teenoor oop-stel), óf ’n verskil in stimuli tussen die eksperimente (enkelwoorde teenoor sinne). Die derde eksperiment het emosionele-prosodie- en foneempersepsie van NH en KI-luisteraars getoets in SGR met sinstimuli en ’n 4AGK-toetsparadigma vir beide take. In NH luisteraars het die helling van agteruitgang van die persepsie van prosodie en foneme (vokale en konsonante) nie betekenisvol verskil nie, en by die laagste STR wat getoets is, was daar nie ’n betekenisvolle verskil in die herkenning van die twee tipes spraakmateriaal nie. In die KI-groep het prosodie- en vokaalpersepsie met soortgelyke hellings agteruitgegaan, terwyl konsonantherkenning ’n steiler helling as prosodieherkenning vertoon het. Die gevolgtrekking was dat alhoewel prosodie spraakherkenning in geraas in NH luisteraars mag ondersteun, die eksplisiete herkenning van prosodiese patrone nie besonder ruisimmuun is nie en dus nie ’n verklaring bied vir die probleme wat KI-gebruikers in geraas ervaar nie. / Thesis (PhD)--University of Pretoria, 2014. / lk2014 / Electrical, Electronic and Computer Engineering / PhD / unrestricted

Mental imagery is a common theme in research that clarifies how musical thought relates to musical performance. Unfortunately, minimal information exists regarding mental imagery and singers. The purpose of this study was to probe the role, if any, mental imagery plays in the conceptualization of pitch and vowel. By interviewing singers at differing levels of expertise, basic information was obtained about the mental processes used by singers. Through evaluations of the singers' mental processes, it was concluded that 95% of the singers in the study employed mental imagery. All singers described using kinesthetic imagery, while the majority implemented sensory and auditory imagery. Viso-spatial imagery was implemented among the more experienced singers. The majority of singers also reported: imaging pitch and vowel interactively; imaging from an internal perspective; and utilizing mental rehearsal. Less than half of the singers described using methods other than mental imagery to conceptualize pitch and vowel.

Made available in DSpace on 2017-06-01T18:24:21Z (GMT). No. of bitstreams: 1 Carla_confrontada.pdf: 967904 bytes, checksum: c3ddee6508b5c47e4d3217f528a70764 (MD5) Previous issue date: 2007-07-01 / The telemarketing sector is in frank expansion in Brasil, and for many it represents the initial opportunity for formal employment. In active telemarketing, the operator calls the customer whereas in receptive telemarketing the call is made by the customer. Since there is no face to face interaction performance of the operator, in both modalities, is solely dependent on his or her verbal communication skills. Thus, their voice is probably the most important component for success. For good communication there must be variations in voice pitch, loudness, speed and intonation, which are essential for good prosody. However, there are relatively few studies examining the subject of intonation in telemarketing. Therefore, the aim of the present study was to characterize the intonation profile of telemarketing operators, as well as to identify the intonation pattern more widely accepted by the customers of a cellular telephony company. For this, a questionnaire was applied to 212 customers and an analysis of the intonation of 40 telemarketing operators conducted using Brazil´s Interactive Theory of Intonation. 50 customers were also asked to listen to audio recordings containing the most frequent intonation patterns and requested to identify the most pleasant ones. Differences in customer service were observed between the two modalities of telemarketing (active or receptive), especially by younger customers (20-30 year olds). Of the 40 discourses evaluated, the most recurrent intonation pattern was the rise pattern both in the active and receptive telemarketing modalities. In active telemarketing, however, the second most prevalent pattern was the fall pattern, whereas in the receptive modality it was the fall-rise pattern. Based on the opinion of the 100 customers that listened to the recordings, it may be concluded that regardless of the type of telemarketing, the rise and fall patterns were considered more natural, in contrast to the fall-rise, pattern which was perceived as exagerated or caricatured. In active telemarmarketing the fall pattern was more widely accepted whereas the rise pattern was better accepted in receptive telemarketing. In addition, the rise and fall pattern was more positively evaluated by male customers. Thus, it may be concluded that, regardless of the type of telemarketing, it is necessary for the company to study the profile of its customers in order for its operators to use the most adequate voice intonation / O setor de telemarketing encontra-se em expansão no Brasil e surge como uma primeira oportunidade de emprego formal. No telemarketing ativo, o papel do teleoperador é o contato direto com o cliente é ele quem faz a ligação, enquanto que, no receptivo, ele recebe a ligação. Neste cenário, a voz torna-se uma ferramenta de trabalho essencial, pois grande parte do desempenho do teleoperador relaciona-se diretamente à comunicação verbal. A voz necessita, para uma boa comunicação, variações de pitch, loudness, velocidade de fala, entoação. Esses parâmetros estão relacionados à prosódia. A literatura apresenta poucos estudos que contemplam a entoação no telemarketing. O presente estudo teve como objetivo caracterizar o perfil entoacional do operador de telemarketing, assim como identificar o tipo de padrão entoacional mais aceito pelos clientes de operadoras de telefonia celular. Para tanto, foi aplicado um questionário a 212 clientes de empresas de telefonia celular, realizado um estudo da entoação de 40 teleoperadores com base na Teoria Interacional da Entoação, desenvolvida por David Brazil, e apresentadas, a 100 clientes, gravações dos padrões mais recorrentes para que identificassem os mais aceitos. Os resultados mais representativos foram: os clientes percebem diferenças entre as formas de atendimento do telemarketing ativo do receptivo, principalmente, os de faixa etária mais jovem (20 a 30 anos); foi identificado como padrão mais recorrente, entre as 40 falas transcritas, o tom ascendente, tanto no telemarketing ativo quanto no receptivo. Contudo, no telemarketing ativo, o segundo padrão mais recorrente foi o descendente, e no telemarketing receptivo, foi o descendente-ascendente. De acordo com a avaliação de 100 clientes, os quais escutaram gravações de vozes de teleoperadores, os tons ascendentes e descendentes, independente do tipo de telemarketing, foram considerados naturais, e o tom descendente-ascendente foi considerado exagerado ou caricato. No telemarketing ativo, o padrão descendente foi mais aceito, e no telemarketing receptivo, os tons ascendentes. O padrão descendente-ascendente teve uma avaliação mais positiva pelos clientes do sexo masculino. Dessa forma, podemos concluir que é necessário conhecer o perfil do cliente que irá utilizar os serviços de telemarketing da empresa, seja ele receptivo ou ativo, para que o operador possa adequar a entoação à forma mais agradável ao cliente

Pronunciation problems of Czech French-learning students and the effectiveness of learning strategies applied by the students of Faculty of Education, Charles University and Faculty of Philosophy and Arts, University of West Bohemia AUTHOR: PhDr. Kateřina Juřičková DEPARTMENT: Department of French Language and Literature, Charles University TUTOR: doc. PhDr. Marie Fenclová, CSc. This PhD thesis - a comparative study - deals on the segmental level with vowels which Czech French-learning speakers find difficult to pronounce and on the suprasegmental level with prosodic factors. On the former level, closed vowels both labialized and sharp, nasal vowels, schwa and semi-vowels are analysed. The first, theoretical part of the paper contains the phonetic and phonological characteristics of the Czech language and the French language from the viewpoint of vocalic systems of these languages and from the viewpoint of melody-prosody interaction. The second, experimental part, contains descriptions of the pre- research single phase observation of problematic phenomena obtained from three groups of students of KFJL (Department of French Language and Literature; Faculty of Education - Charles University), and findings from the research proper from two-phase observations of two groups of students of KFJL and...

Le domande retoriche (DR) sono parte integrante delle sedute plenarie nel Bundestag e vengono qui analizzate dal punto di vista prosodico. Il corpus comprende 40 DR in senso stretto e 60 domande topic-setting (DTS). L’analisi prosodica è stata svolta con il software PRAAT e si concentra principalmente sugli accenti nucleari, sui toni di confine e sui contorni nucleari. A seguito di un’analisi percettiva preliminare, la successiva analisi acustica si è concentrata sulla misurazione e l’osservazione delle variazioni di F0 e intensità in relazione ai contorni nucleari e prenucleari. I risultati mostrano che le DR sono realizzate in modo quasi esclusivo con contorni discendenti e si è osservata anche la presenza di numerosi toni nucleari con downstep. Un altro elemento caratteristico è la presenza di due o più accenti enfatici in posizione prenucleare che rompono la regolarità dello schema intonativo del tedesco. Sono stati inoltre osservati accenti sul pronome interrogativo, picchi di F0 sui deittici e realizzazioni contrastive (o verum focus) e tutti sono stati associati a una funzione di persuasione e mantenimento dell’attenzione. Nelle DTS sono stati osservati in gran parte gli stessi schemi. A differenza delle DR, tuttavia, circa un quarto delle DTS presenta un contorno ascendente o ascendente-progrediente. Tale contorno contribuisce a marcare le domande come espediente narrativo e come parte di un più ampio contesto prosodico. / Rhetorical questions (RQs) are an integral part of the plenary sessions of the Bundestag and are here analysed in their prosodic realisations. The corpus comprises 40 RQs and 60 topic-setting questions (TSQs). The prosodic analysis has been carried out using the software PRAAT and focuses on nuclear accents, boundary tones and nuclear contours. After a preliminary perceptive analysis, the following acoustic analysis was aimed at measuring and observing the variations of F0 and intensity in relation to nuclear and pre-nuclear contours. The results show that RQs are almost exclusively produced with a falling contour and a widespread use of downstepped nuclear tones was also observed. Another key feature was the occurrence of two or more emphatic accents in prenuclear position which break the regular pattern of German intonation. Other prosodic patterns such as accents on the wh-word, F0 peaks on deictics and the use of contrastive realisations – or verum focus – were observed and their function associated to persuasion and maintaining attention. TSQs largely presented the same patterns, but differently from RQs, one-fourth of TSQs presented a rising or rising-progredient contour. This contour contributes to marking the question as a narrative device and as part of a broader prosodic context.

The thesis investigates speech sound characteristics of three different television talk show hosts. Using the experimental analysis it tries to inspect all their typical attributes, especially the suprasegmental features of their speeches. The selected television hosts are both from public and commercial television stations. The first part of the theoretical section introduces the talk show television programming genre and specifies its broadcasting share among the observed television channels, next the diversity of Czech talk shows is introduced together with the individual hosts whose utterances will be analyzed, also the role of communication in mass media as well as the host journalist figure is presented, and the features of publicly spoken speeches are described. Within the part devoted to languages and speeches the linguistic discipline of phonetics is introduced followed by the individual continuous speech sound properties and their specific attributes. The practical section researches performance of the particular hosts and it specifically tries to deal with their sound aspects in order to evaluate whether some typical attributes can be found (primarily within the areas of intonation, pauzation and tempo). Further it observes whether some same sound attributes are shared among the talk...

Mémoire numérisé par la Direction des bibliothèques de l’Université de Montréal / Ce mémoire traite des facteurs suprasegmentaux intervenant dans le discours d'hispanophones s'exprimant en français. Nous tentons de déterminer, par le biais d'une expérience menée auprès de quatre locuteurs vénézuéliens, si certains facteurs suprasegmentaux déviants, dont la courbe intonative, sont susceptibles de jouer un rôle dans l'intelligibilité du discours de ces locuteurs. Cette étude comporte quatre chapitres abordant les thèmes suivants : Nous dressons, tout d'abord, l'état des faits sur l'intelligibilité, la compréhensibilité et l'accent étranger d'apprenants d'une langue seconde. Le chapitre deux traite de l'intonation et, par extension, des phénomènes suprasegmentaux en général, et présente une description des systèmes prosodiques de l'espagnol et du français ainsi qu'une comparaison des deux systèmes. Nous nous appuyons principalement sur le modèle de Pierrehurnbert et Hirschberg (1990) dans la description de ces systèmes. Nous concluons ce chapitre avec une section sur la phonologie de l'interlangue. Le chapitre trois présente l'expérience proprement dite, qui consiste principalement en l’enregistrement de vingt phrases françaises par des sujets hispanophones, phrases qui ont ensuite été transcrites par vingt juges francophones. L'analyse acoustique de ces phrases se concentre principalement sur la courbe intonative, c'est-à-dire les variations de la fréquence fondamentale. Finalement, le chapitre quatre fait état de l'analyse des résultats de cette expérience. Notre hypothèse principale veut que les phrases des sujets hispanophones obtenant le score d'intelligibilité le plus bas soient celles dont les courbes intonatives sont les plus déviantes par rapport à celles des locutrices-témoins francophones. Nous voulons démontrer, par ailleurs, que les phrases correspondant aux scores de transcription les plus bas sont aussi celles correspondant aux scores de reconnaissance de la modalité-cible les plus bas.. Cette recherche a pour but de démontrer que les facteurs suprasegmentaux sont tout autant susceptibles que les facteurs segmentaux de gêner la compréhensibilité (perçue) du discours et d'en affecter l'intelligibilité (objective). Notre objectif, en ce sens, est d'aller au-delà de la plupart des recherches sur la prononciation en langue seconde, lesquelles se sont concentrées jusqu'à maintenant principalement sur la prononciation des segments. Nous sommes consciente que si la recherche s'est surtout limitée aux segments, c'est qu'il semble impossible d'isoler les facteurs suprasegmentaux d'une prononciation déviante et d'analyser leur impact sur la perception des auditeurs. C'est pour cette raison que, bien que nous aimions nous concentrer uniquement sur les variations de la fréquence fondamentale, d'autres facteurs suprasegmentaux tels que le rythme seront considérés dans l'analyse des résultats.

Québec Université Laval, Bibliothèque 2015