La présente thèse traite du rythme, de l'accentuation et de l'intonation dans le rap et le reggae en décrivant les traits formels des phrasés. Ces manières de récitation, qui relèvent de la scansion poétique, du chant et du mi-chant, se prêtent à une analyse dans un cadre théorique de la prosodie contrastive et de la théorie du vers. La thèse se compose de sept chapitres et s'appuie sur un corpus textuel assemblé pour lui, qui compte 200 chansons en français et en tchèque. Ce matériel linguistique de quelque 59 000 syllabes, un ensemble d'extraits représentatifs, est transcrit dans des grilles rythmiques avec une méthode auditive. D'un point de vue prosodique, le rap et le reggae font preuve d'une réorganisation rythmique importante. Dans les deux langues, la mise en musique des textes se réalise par un patron rythmique isochronique, imposé aux paroles à rythme isosyllabique et dont l'accentuation fixe est peu saillante. En référence aux contraintes interactives qui traduisent des tendances universelles, les deux genres se montrent comme étant assez permissifs quand à la liberté dans l'association de paroles au mètre musical. Différents types de non congruence se manifestent à travers plusieurs catégories linguistiques. Un réarrangement formel (décalage d'accent, accents dynamiques) découle de cette rythmisation, de la densité syllabique des grilles et du débit souvent élevé. Le rap français surtout témoigne d'un grand degré de licence à travers le principe d'accentuation automatique sur les pulsations musicales. Malgré ces écarts de la langue observés au niveau accentuel, le niveau syllabique est intègre dans sa réalisation des rythmes importés. Plusieurs mesures de la syllabation font rapprocher le rap et le reggae de la parole ordinaire, plutôt que du chant. Le même constat apparaît en ce qui concerne le profil intonationnel du rap à travers l'inventaire de ses contours nucléaires. D'un point de vue métrique, une grande partie du corpus textuel est classée comme une récitation scandée / mi-chantée de vers libérés. L'intonation appuie la linéation en vers, tout en participant à un groupement métrique calqué sur les modèles du rap américain et du reggae jamaïcain. Les paroles sont également interprétables comme des exemples de vers en mètre allitératif. Ses techniques rythmiques (rimes internes, syncopes, etc.) établissent une grammaire poétique rap / reggae et distinguent deux étapes de l'évolution des genres. / This thesis deals with the rhythm, stress and intonation in rap and reggae music. It describes the form features of declamations which combine chant, halfsinging and singing, in the theoretical framework of contrastive prosody and verse theory. The thesis consists of seven chapters and is based on a textual corpus of 200 songs in French and Czech, assembled for this dissertation. The linguistic material of 59,000 syllabes is a representativeset of excerpts, transcribed in rhythmic grids with an auditive analysis.From the prosodic point of view, rap and reggae display an important degree of rhythmic reorganisation. In both languages, setting texts to music is performed according to an isochronous pattern, which is imposed on the lyrics with an isosyllabic rhythm and whose bound stress system is weak. It is shown through interactive constraints, which reflect universal tendencies in verbal art, that both genres exhibit a lot of freedom in the association of lyrics and the musical meter. Several linguistic categories manifest various types of mismatches. A form rearrangement (stress shifts, dynamic stress) follows from this rhythmisation, as well as from the syllable density of the metrical scheme and a rather high speaking rate. French rap has the most frequent use of poetic license through its practice of the Stress Promotion principle (accenting syllables falling on the beats). The syllabic level seems intact in the realisation of the imported rhythms, as several measures demonstrate that rap and reggae are closer to speech than to singing. A similar observation appears at the intonational level of rap, because its nuclear contour inventory makes it closely resemble speech. From the metrical point of view, a big part of the corpus is classified as chanted and half-sung liberated verse. The lineation is supported by intonation, which participates in a strophic grouping, according to the genres' model of American and Jamaican reggae. The lyrics are also interpretable as verse instances of the alliterative meter. Its rhythmical techniques (internal rhymes, syncopation, etc) establish a poetic grammar of rap and reggae and define the two stages of their evolution. / Tato disertace se zabývá rytmem, přízvukováním a intonací v rapu a v reggae hudbě. Popisuje formální rysy jejich způsobů přednesu, které se váží na poetickou recitaci, zpěv a polozpěv, a které jsou podrobeny analýze v rámci srovnávací prozódie a teorie verše. Práce sestává ze sedmi kapitol a staví na základě textového korpusu sestaveného za jejím účelem, který obsahuje 200 písní v češtině a ve francouzštině. Tento jazykový materiál o cca 59 000 slabikách je reprezentativním souborem úryvků zaznamenaných do tzv. rytmických mřížek pomocí poslechové metody.Z prozodického hlediska rap a reggae vykazuje mnoho změn v rytmické organizaci oproti jiným druhům verbálního umění. V obou jazycích je zhudebnění textů dosaženo skrze izochronní rytmický vzor, který se prosazuje v textech rytmu izoslabičného, jejichž přízvukový systém je pevný a slabý. S odkazem na tzv. interaktivní omezení, která odrážejí univerzální tendence, se oba žánry jeví jako spíše tolerantní vzhledem k volnosti spojení textů a hudebního metra. Jednotlivé jazykové kategorie projevují různé druhy nesouladu mezi oběma složkami. Tento druh rytmizace má za následek nové formální uspořádání(posuny přízvuku, jeho silová realizace), na kterém se podílí také hustota slabik v rytmickém schématu či zvýšené tempo řeči. Největší volnost je sledována u francouzského rapu, pro nějž je typické automatické přidělení metrického přízvuku na hudebních dobách (tj. sekundární realizace silných pozic). I přes výrazný odklon od jazykové normy v přízvukové rovině je při přednesu nově zavedených rytmů plně zachována rovina slabičná. Slabikování přibližuje rap a reggae více řeči než zpěvu, stejně jako inventářnukleárních kontur přibližuje řeči rapovou intonaci.Z metrického hlediska je velká část korpusu zařazena jako skandované a polozpívané uvolněné verše. Intonační jednotky podtrhují frázování veršů, jejichž strofika je ovlivněna metrickou strukturou obou žánrových modelů (americký rap, jamajské, reggae). Texty je také možno považovat za aliterační verše. Jejich rytmické výrazové prostředky (vnitřní rýmy, synkopy aj.) se uplatňují jako poetická gramatika rapu a reggae a umožňují rozlišit dvě vývojové fáze obou žánrů.

The study involves tests on the perception by speakers of Finnish of vowel sounds in natural speech in four important varieties of standard Swedish and as produced by an OVE III synthesizer.The contrastive analysis takes the form of experiments to reveal the divisions of the vowel space in Swedish and Finnish. Perceptually optimal areas and the diffuse zones in the vowel space are contrasted. On the basis of these tests predictions are made concerning second language perceptual problems.The contrastive relations of the vowel sounds in Swedish and Finnish are further illuminated by perceptual tests to study the inherent tendency of speakers of Finnish to confuse certain Swedish vowels. The distribution of the phonemic reactions of speakers of Finnish not knowing Swedish are taken as material for an error analysis relevant to the time of starting to learn Swedish. A number of phonemically long vowel sounds were discovered to cause problems of identification for Finnish listeners. These are / y:/, /in:/, /e:/, / e :/, /#:/, and /o:/. A comparison of the predictions and actual confusions shows a high degree of correlation.Finnish vowel harmony was found to be a factor influencing the responses of Finns to Swedish vowels. The responses to combinations of vowels not complying with the vowel harmony rules contained an increased proportion of confusions leading to harmony-compatible or neutral vowels. Also the vowel qualities which were in an intermediate position in the vowel space in relation to the Finnish vowels tended to be influenced by assimilation or sequential contrast.The perceptual interference properties of the mother tongue in the perception of the vowel qualities as illuminated by the results of the perceptual test are discussed.Certain didactic conclusions are drawn concerning the problems experienced by speakers of Finnish in the identification and also the production of the Swedish vowels. Gestures of lip position and its contrastive perceptual effects are noted to be of especial importance in the learning of the vowel qualities of Swedish by Finns. / digitalisering@umu

A amostra da presente pesquisa foi composta por 45 falantes do português brasileiro que aprendiam inglês como língua estrangeira. Todos foram alunos do ensino superior, do curso de Tradutor, de uma universidade privada da cidade de São Paulo. O objetivo foi analisar a produção das consoantes inglesas em final de vocábulo, nos padrões silábicos, VC e CVC, em dois momentos, com e sem treino. Os resultados evidenciaram mudanças de desempenho na análise póstreino. Foi também verificada a ocorrência de mais erros no padrão VC em função da categoria de erro Vocalização / The sample of the present research consisted of 45 Portuguese Brazilian speakers, who were learning English as a foreign language. All of them are attending the Translator course, in a private university, in the city of São Paulo. The aim of this research was to analyze the production of English ending consonants, based on syllabic patterns, VC and CVC, in two different moments, with and without training. It was also verified the occurrence of more errors in the VC pattern related to Vocalization category

A amostra da presente pesquisa foi composta por 45 falantes do português brasileiro que aprendiam inglês como língua estrangeira. Todos foram alunos do ensino superior, do curso de Tradutor, de uma universidade privada da cidade de São Paulo. O objetivo foi analisar a produção das consoantes inglesas em final de vocábulo, nos padrões silábicos, VC e CVC, em dois momentos, com e sem treino. Os resultados evidenciaram mudanças de desempenho na análise póstreino. Foi também verificada a ocorrência de mais erros no padrão VC em função da categoria de erro Vocalização / The sample of the present research consisted of 45 Portuguese Brazilian speakers, who were learning English as a foreign language. All of them are attending the Translator course, in a private university, in the city of São Paulo. The aim of this research was to analyze the production of English ending consonants, based on syllabic patterns, VC and CVC, in two different moments, with and without training. It was also verified the occurrence of more errors in the VC pattern related to Vocalization category

This thesis examines the differences between the Czech and Cuban phonological inventory. It aims to give a theoretical overview of both systems, to define phonemes, which do not exist in Cuban Spanish, and based on recordings of Cuban speakers living in Prague to give evidence of how they pronounce these phonemes. The paper is divided into two parts: in the theoretical part, the inventory of vowels and consonants in both Czech and Cuban language is thoroughly described, consequently the differences between those two inventories, and then the phonemes problematic for Cuban speakers are identified. In the experimental part, all the realizations of Czech phonemes appearing in the recordings are described. The paper looks at the realizations of Czech vowels and consonants in light of four main variables (level of Czech language, length of stay in Czechia, language used at home, and language used at work). Finally, the results of the research are summarized. Even though, there are quite a few different variations of the pronunciation, as the level of language goes up (also because of other variables), the number of variations is decreasing, in certain cases to only one variation that is corresponding with the pronunciation of the Czech speakers. Keywords Contrastive Phonetics; Czech; Cuban Spanish;...

Vor dem Hintergrund der Ausspracheabweichungen, die chinesische Muttersprachler beim Erwerb der deutschen Aussprache produzieren bzw. aufweisen, widmet sich die vorliegende Arbeit einer intensiven kontrastiven phonetisch-phonologischen Analyse des Deutschen (Standardbinnendeutsch) und des Chinesischen (Putonghua) auf der segmentalphonetischen und -phonologischen, der phonotaktischen und der suprasegmentalen Ebene, um hierauf aufbauend internetbasierte Lehr- und Lernmaterialien zur deutschen Aussprache für chinesische Muttersprachler zu entwickeln. Exemplarisch für diese Konzeption stehen zwei zweieinhalb- bis dreiminütige selbst entwickelte und professionell ausgearbeitete Lernvideos (zu den deutschen Kurz- und Langvokalen sowie zu Konsonantenhäufungen). / Considering pronunciation deviations which are produced by Chinese native speakers in the learning of German pronunciation, this dissertation conducts an intensive contrastive phonetic-phonological analysis of German (Standard internal German) and Chinese (Putonghua) on the segmental, the phonotactic and the suprasegmental levels, in order to further develop internet-based teaching and learning materials for German pronunciation targeting Chinese native speakers. Two educational videos about German pronunciation for Chinese native speakers based on this contrast are developed as a result of this analysis, with one focusing on German short and long vowels and the other on consonant clusters.