Orientador: Plínio Almeida Barbosa / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T11:44:42Z (GMT). No. of bitstreams: 1 Campos_LuanaCarolinePereira_M.pdf: 561404 bytes, checksum: 9141e55bb8da299032441577a649fcf3 (MD5) Previous issue date: 2012 / Resumo: O objetivo deste trabalho é estudar a diferença entre a fala coloquial e a fala profissional do locutor de rádio, analisando, em um primeiro momento, sua entoação através dos parâmetros de gama tonal, valor absoluto de frequência fundamental (f0), forma melódica do foco e alinhamento tonal. O sujeito da pesquisa foi um locutor de rádio, do sexo masculino, de 39 anos de idade, de uma emissora AM de Campinas, com um programa diário local de variedades. As gravações foram feitas em sala silenciosa, com microfone profissional, diretamente no computador através de placa de som. Os dados foram analisados acusticamente, utilizando o programa de análise acústica PRAAT (www.praat.org), focalizando a entoação por meio do correlato acústico da entoação: o parâmetro f0. A coleta de dados foi realizada por meio de uma entrevista semiestruturada informal (entrevista) com o locutor, solicitando-se que produzisse uma fala coloquial de diversos assuntos usualmente abordados na mídia na época da gravação. Durante a entrevista o locutor, espontaneamente, narrou um trecho de um gol do seu time, sendo esse trecho uma simulação de locução de jogo de futebol (simulação). A transcrição ortográfica por completo da entrevista foi realizada, e foram selecionados 10 trechos, que foram transcritos para formato de texto formal. De cada um dos 10 trechos selecionados foram elaboradas 5 frases no estilo de manchetes jornalísticas, sendo utilizadas as mais similares à locução radiofônica, somando um total de 29 manchetes. Após um tempo, foi solicitada ao locutor a leitura dos trechos transcritos e reescritos de forma profissional, como se estivesse atuando no rádio. Essa leitura foi realizada em taxa de elocução habitual (leitura normal), em taxa de elocução rápida (leitura rápida), e imitando o estilo profissional de narração futebolística (leitura futebol). Para validação dos estilos foi realizado um teste de percepção auditiva, a fim de verificar se o locutor foi eficiente nas tarefas solicitadas: leitura normal em comparação com a entrevista, e leitura futebol em comparação com leitura normal. A finalidade foi observar as diferenças e estratégias usadas pelos locutores para atrair a atenção dos ouvintes durante sua emissão. Após análise dos dados, concluímos que, como estratégia para diferenciar os estilos de locução, o locutor utiliza, quando a frequência fundamental (f0) é semelhante, primeiramente da variação da taxa de elocução, e em seguida a variação da duração das pausas silenciosas e da taxa de produção de proeminências. Quando a taxa de elocução é semelhante - como na leitura rápida e na leitura futebol- a estratégia utilizada pelo locutor para diferenciação do estilo de fala é, primeiramente, a variação da média de f0, assim como da duração das pausas silenciosas, e dos intervalos entre as proeminências / Abstract: The main purpose of this work is to study the prosodic differences between the colloquial and professional speech of a radio announcer by analyzing some intonational and rhythmic parameters such as tonal range, median fundamental frequency (f0), pitch accent shape and tonal alignment, as well as speech rate and pauses. The research subject was an AM radio announcer, male, 39 years old, working in an AM station in Campinas, where he has a daily program of local varieties. The recordings were made in a quiet room, with a professional microphone, directly through the computer sound card. Data were analyzed acoustically, using acoustic analysis software PRAAT (www.praat.org). Data collection was conducted through an informal semi-structured interview (interview) with the announcer, where the experimenter asked him to talk about different subjects usually covered in the media at the time of recording. During the interview, the announcer spontaneously narrated a snippet of a goal during a game of his soccer team. This part was separately analyzed as a simulation of a football game (simulation). The entire interview was orthographically transcribed and 10 excerpts were selected for analysis. These excerpts were slightly modified in order to obtain a formal text for a reading task. In each of the 10 excerpts 5 sentences were drawn in the style of journalistic headlines, from which 29 headlines most similar to real radio headlines were selected for reading as headlines. The speaker was asked to read the 10 excerpts of the transcription in a professional manner, as if he was in the radio station. This reading was performed in normal speech rate (normal reading), in fast speech rate (speed reading), and a part of it imitating the style of the narration of a soccer game (soccer game reading). For validating the different speaking styles, we conducted an auditory perception test in order to check if the speaker was efficient in producing the tasks. Listeners compared normal reading with the interview, and soccer-game style reading compared to normal reading. The purpose of the study was to observe the differences and strategies used by speakers to attract the attention of listeners during broadcasting. After analyzing the data, we conclude that, as a strategy to differentiate the styles of speech when the fundamental frequency (f0) is similar, the announcer varies speech rate, and then varies the duration of silent pauses as well as the rate of pitch accent production. When speech rate is similar in the case of rapid reading and soccer game reading, the strategy used by the announcer for distinguishing these speech styles is the variation of the median f0, as well as the variation of silent pauses duration and the pitch accent rate / Mestrado / Linguistica / Mestra em Linguística

Matrices of Vision is a sonic deconstruction of a higher education dataset compiled by the influential Swedish higher education authority Universitetskanslersämbetet (UKÄ). The title Matrices of Vision and project theme is inspired by Indigenous cyberfeminist, scholar and artist Tiara Roxanne’s work into data colonialism. The method explores how practical applications of sound and theory can be used to meditate on political struggles and envision emancipatory modes of creation that hold space through a music-making practice. The artistic approach uses just intonation as a system, or grid of fixed points, which it refuses. The pitch strategy diverges from this approach by way of its political motivations: it disobeys just intonation’s rigid structure through practice and breaks with its order as a way to explore its experiential qualities. The approach seeks to engage beyond the structures designed to regulate behaviors and ways of perceiving and rather hold space for a multiplicity of viewpoints which are explored through cacophony, emotion and deep listening techniques.

The objective of this study was to examine the voices of male-to-female (MtF) transgender veterans and biological females that can result in identification or misidentification of biological gender. Twenty-one MtF transgender veterans and 9 cis-gender females were enrolled. The interaction of speaking fundamental frequency (SFo) and formant (resonatory) frequencies in gender discrimination was investigated. The results indicated that an average SFo above 180 Hz and maintaining a speaking pitch range of approximately 140 to 300 Hz appear to be the most powerful acoustic features or markers in the perception of a female voice in a biological male (M. L. Brown & Rounsley, 1996). An SFo of approximately 170 Hz appears to be the lower limit that would result in a biological male being perceived as having a female voice by most listeners. A slight elevation in the second (F2) and third (F3) formants was noted but does not appear to have a significant influence in the perception of a female voice in biological males. Female voices appear to be perceived as male by most listeners if average SFo is at or below 165 Hz, the low SFo is below 130 Hz, and a low F3 is exhibited. No evidence was found that jitter (frequency perturbation) and shimmer (amplitude perturbation) affect the perception of a female or male voice in a biological male. The results support previous research that elevated pitch is the strongest acoustic marker in the perception of a female voice in biological males.

This study assessed the relative efficiency of three teaching procedures used in the development of improving intonation in clarinet performance. The three treatment procedures used included the Beat Method, the C. G. Conn Stroboscope and Johnson Intonation Trainer. During the six weeks study, all ~s participated in two forty-five minute lessons per week. Intonation procedures were studied for fifteen minutes each lesson while other playing problems were discussed for the remaining time. Instruction time totaled nine hours per group. All Ss continued class work with their school music teacher. The experimental design also included a No Contact Control Group which received no special instruction during the six weeks. Standardized tests using specific items and methods needed for this study were not available. This necessitated the construction of tests by the writer (Appendix A, Band C). A Test Reliability GroupE (N = 15), took the test twice with ten days between testing periods. Other schools were randomly assigned to one of the treatment groups, (a) No Cor;tact Control Group A (N = 12), (b) Beat Method Group B (N = 15), (c) C. G. Conn Stroboscope Group C (N = 12 ) , and (d) Johnson Intonation Trainer Group D (N = 15). All groups participated in a pretest and posttest. The Johnson Intonation Trainer was used to produce a constant pitch while the C. G. Conn Stroboscope measured the degree of out-of-tuneness during testing procedures. Instructions for the test were read to minimize variation. The test orientation consisted of three parts (a) Identification of Beats (A p p e n d i X A) ' ( b ) p i t c h Memo r y u~ p p e n d i X B ) ' ( c) Tu n i n g t 0 s e 1 e c t e d Pitches while playing the clarinet (Appendix G). The analysis of variance was used to compute the data. Ss were unable to tune to specified pitches without practicing systematic procedures on how to accomplish this task. Subjects were unable to change pitches more than .05 of a semitone in the pretest. Tuning to Specified Pitches. After treatment, the ability to change pitches up to .25 of a semi tone was accomplished. Clarinet players, considered technically less proficient by their teachers, also accomplished matching pitches on the pretest as accurately as advanced players. This study strongly confirms the thesis that students can learn to play 1n tune through using 11systematic procedures11 with the cooperative. efforts of teachers . It is also concluded that the procedures used in the 11Beat Method11 are significantly better than other procedures tested.

No description available.

The present study examined the ability of 4th year students of Russian as a second language to use intonation to form intelligible questions. 25 speakers were recorded asking a question in which they were supposed to stress one word in the question using intonation, as is standard in Russian. They then received an intelligibility score based on whether the native Russian raters correctly understood that they were asking a question and what they were asking a question about. Additionally, native speakers rated the speech samples on accentedness, meaning how much the speech deviated from native norms and comprehensibility, meaning how difficult it was to understand the speaker. Both of these last two constructs, i.e., comprehensibility and accentedness were rated using a Likert scale. It was then examined whether there was correlation between intelligibility, comprehensibility and accentedness. This study found the L2 speakers of Russian were correctly understood as asking a question 89% of the time, but what the question was about was only correctly understood at a rate of 39%. Correlation was found between accentedness and comprehensibility, meaning that speakers with better accentedness also received higher comprehensibility scores. But no correlation was found between intelligibility and accentedness nor with comprehensibility. The study concludes with suggestions of why intonation is, in fact, important in communication and suggests areas for improvement in pedagogical settings as well as directions for future research which would include context-based dialogues and the use of Praat in judging statements.

No description available.

<p>Bifogad inspelning av konserten:</p><p></p><p>Repertoar:</p><p>Francesco Guerrero - Duo Seraphim</p><p>Francis Poulenc - Sept chansons nr 1, 2, 4, 5, 7</p><p></p><p>Medverkande: Radiokören</p><p></p>

The present study aims to investigate how the acoustic cues (i.e., mean pitch, duration, and mean intensity) are utilized by Taiwanese EFL learners to produce English noun-verb stress contrasts in falling and rising intonation. In addition, we examine how English native speakers perceive the English noun-verb stress contrasts produced by Taiwanese EFL learners. To examine English noun-verb stress contrasts in falling intonation, eight Taiwanese EFL learners, either in advanced level or intermediate level, recorded six English noun-verb stress contrasts which were put in a sentence frame (i.e., No, it is ______.), and four native speakers of English were also recruited for recording as a basis for comparison. Then, the vowels of the stressed and unstressed syllables were measured in terms of mean pitch, duration, and mean intensity. The results suggest that Taiwanese EFL learners in advanced or intermediate level produce English noun-verb stress contrasts by utilizing mean pitch, duration, and mean intensity, but the extent they utilize mean pitch is different from English native speakers. That is, they produced stressed syllables that are less high-pitched than English native speakers. To investigate how Taiwanese EFL learners utilize the correlates to produce the English noun-verb stress contrasts in rising intonation, the same groups of speakers also recorded the six English noun-verb stress contrasts put in another sentence frame (i.e., Did you say ______?), and the vowels of the stressed and unstressed syllables were measured and analyzed. The results show that Taiwanese EFL learners, either in advanced or intermediate level, utilize duration, but not mean pitch, to produce the noun-verb contrasts, while English native speakers use both duration and mean pitch. To examine how English native speakers perceive the English noun-verb stress contrasts with Taiwanese-accent, another eight English native speakers participated in doing several tasks including identification tasks, accent-rating tasks, and comprehensibility tasks. The results suggest that although Taiwanese EFL learners¡¦ production of the six English noun-verb stress contrasts in falling intonation was rated as foreign-accented, our eight English native speakers can identify their production with higher accuracy. In contrast, production in rising intonation was also rated as foreign-accented; however our English native speakers have difficulties in identifying their production.

An ability to use seperation marks at the end of the senAn ability to use separation marks at the end of the sentence is one of the determining factors of successful written communication. In this paper the ability to use separation marks at the end of the sentence is discussed according to the results of the research. Two researches were made to distinguish ability mentioned above. The goal of the first research was to find out, how pupils can use separation marks at the end of the sentence according to the teacher's intonation. The goal of the second research was to find out, what marks pupils use in the created works in consider in the situation of communication. The results of the research confirmed the hypothesis that pupils of the 2nd and the 4th grade are able to use proper separation marks at the end of the sentence when sentences are read by the teacher. Though in creative works pupils mostly use declarative sentences that do not reveal the situation of communication. According to the information received from conversations with teachers and from my own experience I can assert, that ability to express situations of communication using proper separation marks at the end of the sentence in creative written works can be developed: - paying regular attention to the sense of marks in the folklore, belles-lettres texts; - dramatizing texts mentioned above; - reading texts in roles; - using interactive teaching strategies.