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This study contributes to the search for metrical order in the 90,000 extant long lines of the late fourteenth-century Middle English Alliterative Revival. Using the 'Gawain'-poet's 'Patience' and 'Cleanness', it refutes nineteenth- and twentieth-century scholars who mistook rhythmic liveliness for metrical disorganization and additionally corrects troubling missteps that scholars have taken over the last five years. 'Chapter One: Tame the "Gabble of Weaker Syllables"' rehearses the traditional, but mistaken view that long lines are barely patterned at all. It explains the widely-accepted methods for determining which syllables are metrically stressed and which are not: Give metrical stress to the syllables that in everyday Middle English were probably accented. 'Chapter Two: An Environment for Demotion in the B-Verse' introduces the relatively stringent metrical template of the b-verse as a foil for the different kind of meter at work in the a-verse. 'Chapter Three: Rhythmic Consistency in the Middle English Alliterative Long Line' examines the structure of the a-verse and considers the viability of verses with more than the normal two beats. An empirical investigation considers whether rhythmic consistency in the long line depends on three-beat a-verses. 'Chapter Four: Dynamic "Unmetre" and the Proscription against Three Sequential Iambs' posits an explanation for the unusual distributions of metrically unstressed syllables in the long line and finds that the 'Gawain'-poet's rhythms avoid the even alternation of beats and offbeats with uncanny precision. 'Chapter Five: Metrical Promotion, Linguistic Promotion, and False Extra-Long Dips' takes the rest of the dissertation as a foundation for explaining rhythmically puzzling a-verses. A-verses that seem to have excessively long sequences of offbeats and other a-verses that infringe on b-verse meter prove amenable to adjustment through metrical promotion. 'Conclusion: Metrical Regions in the Long Line' synthesizes the findings of the previous chapters in a survey of metrical tension in the long line. It additionally articulates the key theme of the dissertation: Contrary to traditional assumptions, Middle English alliterative long lines have variable, instead of consistent, numbers of beats and highly regulated, instead of liberally variable, arrangements of metrically unstressed syllables. / text

Darbe nagrinėjamos koliestinės sluoksniuotės su apibrėžta metrika. Parodyta kaip šių erdvių metrinis tenzorius indukuoja tiesinę ir afiniąją sietį, surasti šių siečių kreivumo objektai. Įrodyta, kad šiose sluoksniuotėse egzistuoja vidinės homogeninės beveik kompleksinės struktūros. Nustatytos šių struktūrų integruojamumo sąlygos, surastos sąlygos, kad šį struktūra būtų Kelerio tipo. / In this paper cotangent bundle with determinate metrics are analysed. It is shown how metrical tensor of those spaces induces linear and affine connections, also objects of those connections‘ curvature are found. It is proved that intrinsic homogeneous almost complex structure exists in that bundle. Conditions of those structure integration are identified as well as conditions for this structure to be Kahler‘s type are found.

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-20Bitstream added on 2014-06-13T20:43:48Z : No. of bitstreams: 1 costa_ds_dr_arafcl.pdf: 4693120 bytes, checksum: ac0e9a0c46593fd4bab80819608c224c (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta tese de doutorado tem por objetivo confirmar a possibilidade de uma conexão entre a música e a linguística no desenvolvimento de uma nova metodologia para o estudo da prosódia de línguas mortas ou de períodos anteriores de línguas vivas. Tal metodologia baseia-se, resumidamente, na observação das proeminências musicais de textos poéticos musicados, na observação das proeminências linguísticas do texto dos poemas, junto com a observação da estrutura métrica dos mesmos. Sendo assim, partiu-se da ideia de que o tempo forte do compasso musical (o primeiro tempo) marca preferencialmente uma proeminência no nível linguístico, podendo servir de base para a localização das sílabas tônicas das palavras do texto, o que poderia fornecer pistas para o estudo do acento lexical de palavras em línguas que já não possuem falantes, nem registros orais. O corpus utilizado na pesquisa que sustenta essa tese constitui-se de um recorte das cem primeiras Cantigas de Santa Maria de Afonso X, tomadas a partir das suas versões transcritas por Anglés (1943) para a notação musical atual. Os dados foram coletados por meio da elaboração de fichas de análise, as quais mostram, de maneira clara, as coincidências entre proeminências nos níveis musical e linguístico. Vale ressaltar que foram coletadas trinta e oito mil e dezoito palavras, por meio das quais foi possível analisar a atribuição do acento lexical nas três pautas prosódicas existentes no português arcaico (oxítonas, paroxítonas e proparoxítonas), além e abrirmos uma discussão a respeito da tonicidade de monossílabos e o status prosódico de clíticos; também foi possível analisar a ocorrência do acento secundário, uma das maiores contribuições deste trabalho para a descrição da prosódia dessa língua. Dialogando com os trabalhos de... / This thesis aims to confirm the possibility of a connection between Music and Linguistics on the development of a new methodology applied to the study of the prosody of dead languages or ancient periods of living languages. This methodology is based on the observation of musical prominences of poetic texts with musical notation, and on the observation of linguistic prominences of the texts, considering their metrical structure. There is a great probability of the musical stresses (the first beat of the measure) to coincide with the stressed syllable of the words. This fact provides clues for the study of lexical stress in past periods of the language. The corpus used for this research is composed by the first hundred Cantigas de Santa Maria, which were compiled by Alfonso X and transcribed for the contemporary musical notation by Anglés (1943). The data were collected by means of the elaboration of boards which show the coincidences between prominences at musical and linguistic levels. It is important to point out that thirty eight thousand and eighteen words were collected; this fact enabled the analysis of the attribution of the lexical stress in Medieval Portuguese. Moreover it was possible to discuss the prominence grade of monosyllables and to analyze the occurrence of secondary stresses, maybe the largest contribution of this research in the description of the prosody of that language. Dialoguing with previous researches such as Massini-Cagliari (1995, 1999, 2005) and Costa (2006) - regarding the attribution of the lexical stress in Medieval Portuguese - and Collishonn (1994) - regarding the secondary stress in Brazilian Portuguese - we could verify that the methodology developed in this thesis brought significant contributions for the description of the Medieval Portuguese phonological component as it allowed the analysis of... (Complete abstract click electronic access below)

Orientador: Gladis Massini-Cagliari / Banca: Gisela Collischonn / Banca: Flaviane Romani Fernandes Svartman / Banca: Rosane de Andrade Berlinck / Banca: Marcia Valeria Zamboni Gobbi / Resumo: Esta tese de doutorado tem por objetivo confirmar a possibilidade de uma conexão entre a música e a linguística no desenvolvimento de uma nova metodologia para o estudo da prosódia de línguas mortas ou de períodos anteriores de línguas vivas. Tal metodologia baseia-se, resumidamente, na observação das proeminências musicais de textos poéticos musicados, na observação das proeminências linguísticas do texto dos poemas, junto com a observação da estrutura métrica dos mesmos. Sendo assim, partiu-se da ideia de que o tempo forte do compasso musical (o primeiro tempo) marca preferencialmente uma proeminência no nível linguístico, podendo servir de base para a localização das sílabas tônicas das palavras do texto, o que poderia fornecer pistas para o estudo do acento lexical de palavras em línguas que já não possuem falantes, nem registros orais. O corpus utilizado na pesquisa que sustenta essa tese constitui-se de um recorte das cem primeiras Cantigas de Santa Maria de Afonso X, tomadas a partir das suas versões transcritas por Anglés (1943) para a notação musical atual. Os dados foram coletados por meio da elaboração de fichas de análise, as quais mostram, de maneira clara, as coincidências entre proeminências nos níveis musical e linguístico. Vale ressaltar que foram coletadas trinta e oito mil e dezoito palavras, por meio das quais foi possível analisar a atribuição do acento lexical nas três pautas prosódicas existentes no português arcaico (oxítonas, paroxítonas e proparoxítonas), além e abrirmos uma discussão a respeito da tonicidade de monossílabos e o status prosódico de clíticos; também foi possível analisar a ocorrência do acento secundário, uma das maiores contribuições deste trabalho para a descrição da prosódia dessa língua. Dialogando com os trabalhos de... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis aims to confirm the possibility of a connection between Music and Linguistics on the development of a new methodology applied to the study of the prosody of dead languages or ancient periods of living languages. This methodology is based on the observation of musical prominences of poetic texts with musical notation, and on the observation of linguistic prominences of the texts, considering their metrical structure. There is a great probability of the musical stresses (the first beat of the measure) to coincide with the stressed syllable of the words. This fact provides clues for the study of lexical stress in past periods of the language. The corpus used for this research is composed by the first hundred Cantigas de Santa Maria, which were compiled by Alfonso X and transcribed for the contemporary musical notation by Anglés (1943). The data were collected by means of the elaboration of boards which show the coincidences between prominences at musical and linguistic levels. It is important to point out that thirty eight thousand and eighteen words were collected; this fact enabled the analysis of the attribution of the lexical stress in Medieval Portuguese. Moreover it was possible to discuss the prominence grade of monosyllables and to analyze the occurrence of secondary stresses, maybe the largest contribution of this research in the description of the prosody of that language. Dialoguing with previous researches such as Massini-Cagliari (1995, 1999, 2005) and Costa (2006) - regarding the attribution of the lexical stress in Medieval Portuguese - and Collishonn (1994) - regarding the secondary stress in Brazilian Portuguese - we could verify that the methodology developed in this thesis brought significant contributions for the description of the Medieval Portuguese phonological component as it allowed the analysis of... (Complete abstract click electronic access below) / Doutor

I denna uppsats har jag sammanställt olika teorier kring rytmik och metrik för att skapa en metod för analys av klassiska verk. Denna metod använder jag sedan på musik av Hector Berlioz för att undersöka om det finns rytmiska och metriska abstrakt som står ut. Vidare används resultatet från analysen för att skriva ett eget stycke som ska reflektera det studerade styckets rytmiska karaktär. Under projektet upptäcker jag bland annat att aspekter av frasrytm är något svårare att inkorporera i ett nytt stycke än andra aspekter och reflekterar slutligen kring hur metoden kan utvidgas och förbättras, samt kring mitt förhållande till metoden ur ett konstnärligt perspektiv.

This work uses a Deep Learning architecture, specifically a state-of-the-art Temporal Convolutional Network, to track the beat and downbeat positions in jazz-ensemble recordings to derive their metrical grid. This network architecture has been used successfully for general beat tracking purposes. However, the jazz genre presents difficulties for this Music Information Retrieval sub-task due to its inherent complexity, and there is a lack of dedicated sets for evaluating a model’s beat tracking performance for different playstyles of this specific music genre. We present a methodology in which we trained a PyTorch implementation of the original architecture with a recalculated binary cross-entropy loss that helps boost the model’s performance compared to a standard trained version. In addition, we retrained these two models using source-separated drums and bass tracks from jazz recordings to improve performance. We further improved the model’s performance by calibrating rhythm parameters using a priori knowledge that narrows the model’s prediction range. Finally, we proposed a novel jazz dataset comprised of recordings from the same jazz piece played with different styles and used this to evaluate the performance of this methodology. We also evaluate a novel sample with tempo variations to demonstrate the architecture’s versatility. This methodology, or parts of it, can be exported to other research work and music information tools that perform beat tracking or other similar Music Information Retrieval sub-tasks. / Vi använde en Deep Learning-arkitektur för att spåra beat- och downbeatpositionerna i jazz-ensembleinspelningar för att härleda deras metriska rutnät. Denna nätverksarkitektur har använts framgångsrikt för allmän taktspårning. Men jazzgenren uppvisar svårigheter för denna deluppgift för återhämtning av musikinformation på grund av dess inneboende komplexitet, och det finns en brist på dedikerade datauppsättningar för att utvärdera en modells prestanda för olika spelstilar av denna specifika musikgenre. Vi presenterar en metod där vi tränade modellen med en omräknad binär korsentropiförlust som hjälper till att öka modellens prestanda jämfört med en utbildad standardversion. Dessutom tränade vi om dessa två modeller med hjälp av källseparerade spår från jazzinspelningar för att förbättra resultaten. Vi förbättrade modellens prestanda ytterligare genom att kalibrera parametrar med hjälp av a priori kunskap. Slutligen föreslog vi en ny jazzdatauppsättning bestående av inspelningar från samma jazzstycke som spelades med olika stilar och använde detta för att utvärdera hur denna metod fungerar. Vi utvärderar också ett nytt prov med tempovariationer för att visa arkitekturens mångsidighet. Denna metodik, eller delar av den, kan exporteras till andra forskningsarbeten och musikinformationsverktyg som utför beat tracking eller andra liknande Music Information Retrieval underuppgifter.

It is well-known that the early assignment of prominence in sequences like THIRteen MEN vs. thirTEEN, (defined as the Rhythm Rule, or post-lexical stress shift), is an optional phenomenon. This dissertation examines some of the factors that encourage the application of stress shift in English and how it is phonetically realised. The aim is to answer two sets of questions related to why and how stress shift occurs in English: 1a) Does prosodic boundary strength influence stress shift? 1b) Does the adjacency of prominences above the level of the segmental string encourage stress shift? 2) How is stress shift realized? a) Is stress shift only a perceptual phenomenon? and b) Which syllables, if any, change acoustically when stress shift is perceived? To answer these questions, four experiments were designed. The first three experiments test whether the strength of the prosodic boundaries before and after the target word (e.g., canteen) influence stress shift. The effect of the strength of the left-edge prosodic boundary was investigated by comparing perceived stress patterns of the target (e.g., canteen) as produced in isolation where it is preceded by an utterance- and a phrase- initial prosodic boundary (the Isolated condition) with its rendition when embedded in a frame sentence (e.g., Say canteen again) where the left prosodic boundary before canteen is weaker (the Embedded condition). Results show a very clear tendency towards late phrasal prominence on the final accentable syllable (e.g., -teen in canteen) in the Embedded condition while in the Isolated condition this pattern appeared in less than half of the targets, showing that the stronger left boundary increased the incidence of stress shift. Two more experiments manipulated the strength of the boundary to the right of the target (#) respectively by changing the syntactic parse of the critical phrase (e.g. canteen cook) in sequences like (1) and by manipulating constituent length as in (2). Results showed that the syntactic manipulation significantly affected the strength of the prosodic boundary between the clashing words which was stronger in (1b) relative to (1a), and affected the incidence of stress shift, which was higher in (1a) relative to (1b). The length manipulation also affected the rate of stress shift, which was significantly higher in the phrase with the shorter word, e.g., soups (2a) relative to phrase with the longer word, e.g., supervisors (2b). (1) Example from the Syntax Experiment a. Who is the canteen (#) cook these days? (Pre-modifier + Noun) b. How do the canteen (#) cook these days? (NP + VP) (2) Example from the Length Experiment a. It should include the canteen (#) soups again. (Shorter constituent) b. It should include the canteen (#) supervisors again. (Longer constituent) Whilst we knew from the literature that the grouping of the clashing words within one Intonational Phrase (IP) encourages stress shift, results from the Syntax and Length experiments indicate that this (i.e., the phrasing of the clashing words within same IP) is not sufficient condition for the occurrence of stress shift, and that fine-grained degrees of boundary strength below the Intonational Phrase can drive changes in prominence pattern. The fact that higher rates of stress shift (and associated significant acoustic changes) were driven by manipulations of constituent length --for sequences with the same syntactic structure-- provides support for the idea that prosodic (rather than syntactic) boundaries directly influence stress shift. The fourth experiment tests the definition of stress clash in English in cases like fourteen candles where the two main lexical prominences are strictly adjacent along the time dimension, in fourteen canoes where the prominences are not adjacent in time, but adjacent at the higher levels of the metrical hierarchy, and in fourteen canteens where the main lexical prominences are not adjacent, and do not clash. This experiment highlighted and resolved an unacknowledged disagreement about what clash status sequences with one weak intervening syllable (e.g., fourTEEN caNOES). The fourTEEN caNOES type were shown to behave like metrically clashing sequences (e.g., fourteen CANdles) in attracting stress shift, and differently from the non-metrically-clashing sequences (e.g., fourteen CANTEENS) in discouraging it. These results provide empirical support for the Standard Metrical Theory (e.g. Selkirk, 1984; Nespor & Vogel, 1989) claim that 1) stress clash matters in triggering stress shift and that 2) stress clash in English is defined at the higher prosodic levels and not restricted to the level of the segmental string as indirectly assumed in a growing body of research (e.g., Vogel, Bunnel & Hoskins, 1995; Tomlinson, Liu & Fox Tree, 2014). Along with the establishment of prosodic boundary strength as one of the predictors influencing stress shift, another important contribution of the thesis is providing empirical evidence that the English Rhythm Rule is not solely a perceptual phenomenon and that it is associated with acoustic correlates. The main correlates of perceived stress shift consistently appearing across experiments is the decrease in the duration of the main lexical prominence of the target (e.g., -teen in canteen) and the increase of fundamental frequency and Sound Pressure Level peaks and on the initial syllable (e.g., canin canteen), when followed by a main clashing phrasal prominence. The acoustic analysis shows that the first accentable syllable also contributes in the perception of stress shift. This latter result does not lend support to the deletion formulation of the Rhythm Rule (Gussenhoven, 1991) which stipulates that the impressions of stress shift are solely associated with changes of prominence in the last accentable syllable of the target (e.g. -teen in canteen). Along with the determination of the acoustic correlates of perceived stress shift in English, the present research 1) indicates that fine-grained gradations of prosodic boundary strength can influence stress shift, 2) shows that while stress clash can increase the incidence of stress shift, stress shift can take place even in environments completely free of stress clash, and 3) provides evidence that stress clash should not be construed simply as the concatenation of two main lexical prominences along the time dimension.

For the purpose of this study, the geometric images refer to the results obtained by reproducing the percept of elements that constitute the content of geometry. The scientific problem addressed in this study is the achievement of more effective geometric images formation at primary school stages on the basis of holistic approach to the geometric education. The study objective is to get deeper knowledge of the mechanism on the formation of geometric images at primary school. The theoretical analysis includes the definition of geometric image conception worked out based on the works of scientists representing a variety of different disciplines, the overview of the existing situation with respect to the formation of geometric images in pupils of primary school and modelling of geometric images formation process at primary school stage based on the results of theoretical analysis. The experimental study on the development of geometric images at primary school stages was planned based on the hypothetical geometric images formation model. The study has been narrowed down to the evaluation of the impact that the manual constructive geometry has upon the geometric images of schoolchildren. The empirical reasoning of dissertation, in total: questionnaire data completed by 653 schoolchildren and qualitative data collected in the result of formative experiment. The results of the study may be applied in the process of training future teachers of primary school. They may also be... [to full text]

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