Esta dissertação trata da queda de sílaba em limite de palavra no falar da cidade paulista de Capivari, observando-se em quais contextos esse processo fonológico pode ocorrer e em quais nunca ocorre. Para realizar essa análise, são considerados três níveis fonológicos, quais sejam: segmental, prosódico e métrico. A queda de sílaba é tratada como dois tipos distintos de redução fonológica: na elisão silábica, há dessemelhança entre as consoantes das sílabas envolvidas; com relação à haplologia, as consoantes das sílabas são iguais ou semelhantes ? a diferença entre elas está apenas no traço [sonoridade]. Pôde-se constatar, pela análise de contextos segmentais, que tanto a elisão silábica quanto a haplologia são processos regidos pelas mesmas regras, uma vez que ambos os processos se dão no mesmo ponto de consoante para que possa haver efetiva queda de sílaba. E, da mesma forma, esses processos fonológicos podem ocorrer em qualquer nível da hierarquia prosódica. Isso evidencia que a elisão silábica e a haplologia são de fato o mesmo processo fonológico. Finalmente, a análise métrica aponta as mesmas propriedades para a elisão silábica e para a haplologia no que diz respeito ao uso desses processos para otimizações rítmicas / This work deals with syllable deletion in word boundary in Capivari speech, a city from the countryside of São Paulo state. It was checked in which contexts this phonological process can occur and in which it can never occur. To fulfill this analysis three phonological levels were considered: segmental, prosodic and metrical. Syllable deletion is dealt as two distinct types of phonological reduction: in syllable drop, the syllable\'s consonants are distinct from each other; in haplology, the consonants are equal or alike - the difference between them is only the feature [sonority]. By the analysis of segmental contexts, it has been proved that both syllable drop and haplology are types of processes which are governed by the same rules, for both of them must have the same consonant place node, so that there can be in fact syllable deletion. In the same way, both the phonological processes may occur in any prosodic level from which it is evident that syllable drop and haplology are actually the same phonological process. To verify if both the processes are rhythmically used in the same way it has been pointed out by metrical analysis that syllable drop and haplology present the same properties as regards to optmization

Esta tese de doutorado A entoação do dialeto caipira no Médio Tietê: reconhecimento, características e formação faz parte do Projeto ExProsodia, em auxílio ao PHPP (Projeto História do Português Paulista), que objetiva analisar o português paulista falado no interior do estado. Sendo um dos trabalhos que está dando embasamento a ele, esta pesquisa subsidia os estudos do idioma, trazendo, além do exame da entoação, um breve histórico do Brasil e das cidades interioranas paulistas e portuguesas, de modo a entendermos como foi estabelecido o dialeto caipira nessas localidades. Tendo isso feito, avaliou-se a entoação de falantes do Médio Tietê por meio de análise automatizada promovida pelo ExProsodia. Seguindo a linha de pesquisa de Ferreira Netto (2008), examinou-se a fala dos informantes a partir da análise de f0, particularizando dela o tom médio (TM) e o tom final (TF). Para isso, foram selecionados 40 entrevistados, sendo 28 de sete cidades que compõem o Médio Tietê (Santana de Parnaíba, Pirapora do Bom Jesus, Porto Feliz, Tietê, Capivari, Itu, Piracicaba), e 12 de três cidades do norte de Portugal (Braga, Bragança e Vila Real), além de 10 gravações (5 vozes masculinas e femininas) de jornalistas do programa SPTV da emissora de televisão Rede Globo - tomados como fala neutra (BARBOSA, 2002, p.36) para serem usados como controle. Em cada cidade mencionada, buscaram-se 4 informantes, sendo dois homens e duas mulheres com idades iguais ou superiores a 60 anos, de baixo ou nenhum grau de escolaridade e moradores vitalícios de suas regiões. De seus depoimentos foram colhidas 5 frases para observação, totalizando o valor de 220 dados. Desta forma, por meio de aplicativos especializados (SFS e Audacity), e com especial uso do ExProsodia® para geração de valores para o cálculo estatístico, foi possível verificar que o TM e o TF do dialeto caipira apresentam, em diversas análises, características comuns ao do controle e ao dos falantes de Portugal; ademais, observou-se que a finalização apresentada pelos informantes brasileiros e portugueses tendem a ser menos acentuada, caracterizando um traço plagal na fala. Os mesmos resultados também foram observados com os estudos de Costa e Baz (ambos de 2011), em que foram analisadas as falas de índios guatós e guaranis paraguaios. Sendo assim, este estudo pode gerar algumas conclusões: primeiramente, a finalização autêntica é uma variação entoacional, já que a plagal não é uma característica própria de uma região, logo, como ela é encontrada nos falares de pessoas com baixa ou nenhuma escolaridade, entende-se que este seria um traço comum da fala, o qual o dialeto caipira também mantém. Além disso, como o caipira apresenta o TM e o TF similares ao do controle, demonstra-se que seus falares possuem inflexões como em outras falas, não sendo plano ou igual; e essas considerações atualizam a informação de Amaral (1955, p. 45) sobre esse assunto. / This doctoral dissertation aims at analyzing the Portuguese dialect (caipira) spoken in the region of Middle Tietê, on the Brazilian state of São Paulo. Entitled The intonation of the caipira dialect in the Middle Tietê: recognition, characteristics and formation, this thesis is part of the Project ExProsodia in aid to PHPP (Project History of Paulista Portuguese), providing groundwork to other studies of Portuguese dialects. Besides examining aspects of intonation, this work offers a concise historical analysis on how the caipira dialect was established in Brazil, São Paulo and the Portuguese countryside. The empirical material consisted of speeches from 40 interviewees in 7 cities of the Middle Tietê region (28 interviewees) and 3 cities of the Northern Portugal region (12 interviewees). Additionally, 10 recordings of journalists from a major TV news broadcasting in São Paulo (SPTV by Rede Globo) were adopted as controls, based on the assumption of neutral speech (BARBOSA, 2002, p.36). Four interviewees were selected per city (2 men and 2 women), with the inclusion criteria of being at least 60 years old, having low or no formal education, and being ligelong resident at the surveyed areas. Five phrases were analysed per individual, amounting to a total of 220 data samples. The intonations of these interviewees were processed through specialized computer applications (SFS and Audacity) and the special use of an automated analytical tool called ExProsodia®, which statistically discriminated the various tones of the caipira dialect. Following Ferreira Nettos research (2008), speeches were analyzed by selecting the midtones (TM) and the final tones (TF), in the so-called f0 analysis. Common features were observed among the Portuguese interviewees and the Brazilian controls, whereas the phrasal finalization of Brazilian and Portuguese interviewees tended to be less marked, and featured by a plagal trace speech. Similar results were observed by Costa (2011) and Baz (2011), where the lines of Paraguayan Guarani Indians and Guatós Indians were analyzed. This thesis concludes that the authentic finalization is an intonational variation, because the plagal finalization is a region-independent feature occurring in the dialects of individuals with low or no formal education. Hence, the plagal finalization is suggested to be a common trait of speech, also kept by the caipira dialect. Furthermore, as the caipira dialect presents TM and TF similar to the control, it features inflections which are neither plane or equal; such finding warrants an update on Amaral\'s information on the subject (1920, p. 56).

For people without speech, voice output communication aids are an assistive technology––but can also be restrictive: whilst Text-To-Speech synthesis can say anything, it affords little choice of how this is spoken. An absence of nuanced tone of voice can inhibit social interaction. This research explores this profound but relatively overlooked issue in augmentative and alternative communication through the lens––with the sensibilities and skills––of interaction design. Tone of voice is such an elusive and intangible quality: difficult for even phoneticians to define, let alone AAC users and carers to discuss in the context of their everyday lives. Therefore the activities of design exploration and design practice have been employed to visualise tone of voice, in order to catalyse new conversations, through two original research projects: Six Speaking Chairs, curated with Andrew Cook, is a collection of interactive artefacts that illustrate alternative models of tone of voice developed by academics and practitioners as diverse as sociolinguists and playwrights;Speech Hedge, created with the assistance of Ryan McLeod, is a visualisation of how someone might interact with nuanced tone of voice using a conventional communication aid in combination with an interface on a smart phone. Audience responses to each project have illuminated the perspectives from which laypeople conceive of tone of voice, challenging the conventional emotional model that dominates speech technology in favour of something more complex and heterogeneous. In order to reconcile such complexity with simplicity of use, design principles have been distilled that could inspire future user interfaces but also inform further research. This research has been published and presented within different academic fields, including design research, interaction design and augmentative and alternative communication.

Esta dissertação trata da queda de sílaba em limite de palavra no falar da cidade paulista de Capivari, observando-se em quais contextos esse processo fonológico pode ocorrer e em quais nunca ocorre. Para realizar essa análise, são considerados três níveis fonológicos, quais sejam: segmental, prosódico e métrico. A queda de sílaba é tratada como dois tipos distintos de redução fonológica: na elisão silábica, há dessemelhança entre as consoantes das sílabas envolvidas; com relação à haplologia, as consoantes das sílabas são iguais ou semelhantes ? a diferença entre elas está apenas no traço [sonoridade]. Pôde-se constatar, pela análise de contextos segmentais, que tanto a elisão silábica quanto a haplologia são processos regidos pelas mesmas regras, uma vez que ambos os processos se dão no mesmo ponto de consoante para que possa haver efetiva queda de sílaba. E, da mesma forma, esses processos fonológicos podem ocorrer em qualquer nível da hierarquia prosódica. Isso evidencia que a elisão silábica e a haplologia são de fato o mesmo processo fonológico. Finalmente, a análise métrica aponta as mesmas propriedades para a elisão silábica e para a haplologia no que diz respeito ao uso desses processos para otimizações rítmicas / This work deals with syllable deletion in word boundary in Capivari speech, a city from the countryside of São Paulo state. It was checked in which contexts this phonological process can occur and in which it can never occur. To fulfill this analysis three phonological levels were considered: segmental, prosodic and metrical. Syllable deletion is dealt as two distinct types of phonological reduction: in syllable drop, the syllable\'s consonants are distinct from each other; in haplology, the consonants are equal or alike - the difference between them is only the feature [sonority]. By the analysis of segmental contexts, it has been proved that both syllable drop and haplology are types of processes which are governed by the same rules, for both of them must have the same consonant place node, so that there can be in fact syllable deletion. In the same way, both the phonological processes may occur in any prosodic level from which it is evident that syllable drop and haplology are actually the same phonological process. To verify if both the processes are rhythmically used in the same way it has been pointed out by metrical analysis that syllable drop and haplology present the same properties as regards to optmization

The public opinion on the favourability towards the police varies greatly in the different populations in the United States. This is a corpus linguistic study that investigates a possible change in semantic prosody of the word cop. The study also investigates the distribution of the keyword in the different subcorpora to see if it has driven an overall change in the semantic prosody. The source is the Corpus of Historical American English, dating from 1800 to 2009. The Corpus of Historical American English is divided into four subcategories that have a median of 51% fictional material throughout the corpus. The four subcategories in the corpus are fiction, news, popular magazines, and non-fictional books. The data are divided into two categories, the first one being the positive/neutral category and the second category being the negative category. Neutral/positive is when cop is used with neutral or positive connotations and the negative is when cop is used with negative connotations. The period studied is that of 1859 to 2009 and this time span is divided into four periods to be more manageable. The distribution of the word in the subcorpora shows that the cop is used mostly in fictional material. The results show that the use of cop in contextual positive or neutral situations increase during the time span. To further this matter additional studies on cop in other corpora from America and other parts of the speaking world would benefit the knowledge on the noun’s semantic prosody and to further knowledge in the public opinion on the police. / Befolkningens attityd i de Förenta staterna varierar kraftigt mellan olika grupperingarna inom landet. Detta är en korpuslingvistisk studie som undersöker en möjlig semantisk prosodisk förändring hos ordet cop. Studien utgår ifrån Corpus of Historical American English som dateras mellan 1800 – 2009. Den semantiska prosodin undersöks genom att dela in träffarna i två kategorier, användning i neutral/positiv semantisk prosodi och användning i negativ semantisk prosodi. Studien undersöker även distributionen av ordet i korpusens underkorpus för att se om distributionen kan ha en koppling till semantisk prosodi. Underkorpusen är skönlitteratur, nyheter, populärmagasin och icke skönlitterära böcker. Tidsperioden som undersöks är 1859 – 2009 och denna period delas in i fyra mindre, mer hanterbara perioder. Resultatet visar att cop använts i en majoritet av skönlitterära texter i korpusen. Undersökningen visar att det finns en majoritet av negativ semantisk prosodisk användning under period 1 och 2. Period 3 skiftar lite mellan kategorierna men från 1940 hamnar cop i neutrala/positiv majoritet och Period 4 har en stark positiv semantisk prosodisk trend. Studien visar att cop har genomgått en förändring i ordets semantiska prosodi från negativ till neutral/positiv. För att utöka kunskapen kring detta ämne skulle fler undersökningar i fler korpus från de Förenta staterna och resten av den engelsktalande världen behöva göras. Detta skulle öka kunskapen kring ordets semantiska prosodi och kunna ge viss insikt i den offentliga attityden gentemot polisväsendet.

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.

This thesis investigates issues of intelligibility through the lens and focus of prosody when the Bostonian and Los Angeles-based accents are heard in casually occurring conversation by native and non-native speakers. Over the spring and summer of 2017, six native speakers and 11 non-native speakers of English were interviewed from having listened to two 2.5 minute audio sample clips of speakers who have these accents. Respondents were asked questions such as what was difficult or easy or whether they could summarize the recordings for me. Findings indicate that while the native speakers often had difficulty with vocabulary due to context, non-native English speakers frequently found the same recordings to sound continuous, blended or merged together when the Boston and Los Angeles audios were played to them. Native English speakers, by contrast, did not seem to face the same prosodic challenges of intelligibility as their non-native English-speaking counterparts when these two accents were heard in informal conversation. It has been found that L2 learners have a strong desire to learn English from their teachers through more naturally or informally occurring conversation. The argument is made that the teaching, practice and engagement of informal conversation is woefully inadequate for non-native speakers of English. Within this thesis the core subsets of the perceptions of prosody are analyzed between native and non-native speakers of English. The purpose of doing so is to pedagogically improve learning in EFL and ESL contexts.

Le complément différé se présente comme une unité à la fois prosodiquement ou graphiquement autonome et syntaxiquement dépendante d’un énoncé antérieur, appelé énoncé support. Notre objectif au cours de cette thèse est de concevoir une modélisation de la production des compléments différés. Nous effectuons pour cela une étude des caractéristiques syntaxiques de 893 compléments différés, extraits de corpus écrits et oraux. Nous observons ainsi la présence d’éléments averbaux (noms, prépositions, etc.) parmi les gouverneurs des compléments différés. Cela contredit les notions antérieures, telles que l’épexégèse de Bally (1944:§75), qui n’envisageaient ces unités que sous la gouvernance d’un verbe. En outre, nous mettons en évidence les différents usages que les locuteurs font du complément différé au cours de l’interaction, et montrons ainsi sa polyvalence et son intérêt en tant qu’outil à la disposition des locuteurs. Le complément différé peut en effet servir au locuteur à ajouter une nouvelle information, mais aussi à préciser, modifier ou corriger une information apportée par l’énoncé support, à questionner son interlocuteur ou à lui répondre. De même, son autonomie prosodique ou graphique ainsi que sa dépendance syntaxique à l’énoncé support jouent un rôle dans sa réception et son interprétation, et nous montrons que produire un complément différé n’équivaut strictement ni à produire un complément non différé, ni à produire une unité syntaxiquement autonome. Nous proposons finalement une modélisation de la production des compléments différés, illustrant leur rattachement à l’énoncé support ainsi que l’implication du locuteur vis-à-vis de l’information qu’ils apportent. / The postponed complement is a prosodically or graphically independant unit which is syntactically dependent on a previous utterance, called support utterance. In this thesis, we aim to develop a modeling of the production of postponed complements. For this purpose, we conduct a study of the syntactic features of 893 postponed complements from written and oral corpora. We note the presence of non-verbal elements (nouns, prepositions, etc.) among the syntactic governors of postponed complements. This contradicts earlier notions, such as Bally's epexegesis (1944:§75), which only conceived these units under the governance of a verb. In addition, we highlight the different uses that speakers make of the postponed complement during an interaction, and we thus demonstrate its versatility and interest as a tool available to the speakers. A postponed complement can be used by the speaker to add new information, but also to specify, modify or correct the information provided by the support statement and to question or answer the interlocutor. Its prosodic or graphic autonomy and syntactic dependence on the support utterance also play a role in its reception and interpretation, and we show that producing a postponed complement is strictly equivalent neither to producing a non-postponed complement nor to producing a syntactically autonomous unit. Finally, we propose a model of the production of postponed complements, illustrating its connection to the support statement as well as the speaker's involvement towards the information provided.

Si l’opéra sur un livret en prose ne se manifeste publiquement en Europe qu’au tournant des XIXe et XXe siècles, dans les domaines russe, puis français, enfin allemand et tchèque, des essais de chant de prose et des réflexions sur ses conditions de possibilités sont cependant intervenus, en France, dès le XVIIIe siècle. Envisagée comme forme verbale apériodique, la prose peut ainsi être considérée comme étant au fondement du genre de l’opéra. D’une part, en effet, dans la tragédie lyrique et auparavant dans l’opéra italien, des vers mêlés apériodiques sont d’emblée associés à un chant lui aussi largement apériodique, notamment dans le récitatif. Cette caractéristique formelle du récitatif est soulignée par la notion analogique péjorative de « prose musicale », élaborée dans la seconde moitié du XVIIIe siècle, en France et en Allemagne, par les partisans de la mélodie périodique italienne. D’autre part, l’ opposition entre le régime du récitatif et le régime de l’air peut être interprétée comme un conflit entre un principe dramatique linéaire de prosa oratio et un principe lyrique circulaire de versus. Sur un plan stylistique, la notion formelle de prose s’articule en outre à celle de prosaïsme, non seulement dans le drame lyrique naturaliste en prose, mais plus généralement dans le chant de type récitatif, considéré par certains théoriciens comme la prose du chant, parce qu’il est apériodique et dévolu aux matières de moindre valeur lyrique. Cette articulation entre les plans formel et stylistique s’opère notamment dans la prosodie musicale, et plus spécifiquement à travers le traitement de l’e caduc, qui fait l’objet de débats idéologiques touchant aux limites entre le naturel et le prosaïsme. Les tentatives de divers compositeurs, poètes et théoriciens pour dépasser l’antagonisme entre le vers et la prose conduisent dès lors à repenser le genre, non en termes de dichotomie formelle et stylistique, mais comme une unité organique. Celle-ci prend ainsi la forme d’un poème lyrico-dramatique, qui s’incarne dans un discours poético-musical associant chant, orchestre, et silence. Le problème du chant de la prose dans l’opéra apparaît donc comme un révélateur des enjeux génériques, esthétiques, voire idéologiques du théâtre lyrique. / Although prose opera only appeared in Europe at the turn of the nineteenth and twentieth centuries, in Russian, French, German and Czech opera, some ventures into prose singing and reflections about it did occur in France as early as the eighteenth century. Seen as an aperiodic verbal form, prose can be considered to have been an essential part of the operatic genre from the beginning. Indeed, aperiodic free mixed verse is used in French tragédie en musique, and before that in Italian opera, in association with largely non-periodic singing, especially in recitative. This formal characteristic of recitative is summed up in the metaphoric and pejorative phrase of “musical prose”, which was created in France and Germany in the second half of the eighteenth century by admirers of the Italian periodic melody. This opposition between two modes of singing, recitative-like and aria-like singing, can be seen as a conflict between two contradictory principles in opera: on the one hand, a prosa oratio principle, whose linearity represents the dramatic progressive succession ; on the other hand, a versus principle, whose periodic circle constitutes the traditional form of lyrics. On a stylistic level, prose also has to do with prosaic matters and language, not only in the naturalistic drame lyrique, but more generally in recitative singing. The latter is sometimes considered the prose of music, not only because of its form, but also because it deals with less lyrical matters than aria. This relationship between formal and stylistic levels is particularly tight in prosodic matters, especially in the treatment of the famous mute e, which provokes multiple ideological debates concerning natural, realistic, or prosaic styles of diction. Attempts to solve this problematic opposition between verse and prose logics led various musicians, librettists and theorists to go beyond formal and stylistic dichotomy and to rethink opera as an organic whole: in the form of a lyric-dramatic poem and a poetic-musical speech, where singing, orchestra, and silence are combined. The problem of prose singing in opera thus clearly reveals the generic, aesthetic, and ideological issues concerning lyric theatre.

Prosody is the melody and rhythm of speech and language. Prosodic ability is of great importance for communication, and has been shown to be affected in adults with acquired brain injury. Studies have shown that Swedish children with specific language impairment have prosodic  difficulties to a greater extent than e.g. English speaking peers. It is thereby possible that prosodic ability is more vulnerable also in Swedish speaking adults with acquired brain injury. The aim of the present study was to assess prosodic ability in adults with acquired brain injury, and to evaluate the prosodic assessment procedure that was used. The relationship between prosodic ability and general language ability, location of injury and post-onset time was examined. Fifteen adults with acquired brain injury participated, six women and nine men, aged between 30 and 82 years. The participants were tested with an assessment procedure for prosody and parts of Neurolinguistic Assessment of Aphasia (A-ning). Prosodic problems were found at word, phrase and discourse level. No clear links between prosodic ability and location of injury or time post-onset were found. However, a deviant usage of focal accents with a preserved ability to produce word accents as a result of right hemisphere injuries was found. Furthermore, a relationship between prosodic ability and general language ability was found. The prosodic procedure was proven useful for assessment of adults with acquired brain injury, but it needs additional revision. The present study contributes with additional knowledge of prosodic ability in native Swedish speaking adults with acquired brain injury. / Prosodi är talets och språkets melodi och rytm. Den prosodiska förmågan är av stor betydelse för kommunikationen, och är ofta påverkad hos vuxna personer med förvärvad hjärnskada. Forskning har visat att svenska barn med språkstörning har prosodiska svårigheter i större utsträckning än exempelvis engelsktalande barn med språkstörning. Därför är det möjligt att den prosodiska förmågan är mer sårbar även hos vuxna personer med förvärvad hjärnskada och svenska som modersmål. Syftet med föreliggande studie var att kartlägga prosodisk förmåga hos vuxna personer med förvärvad hjärnskada, samt att utvärdera det undersökningsmaterial för prosodi som användes. Sambandet mellan prosodisk förmåga och språkförmåga, skadelokalisation och tid sedan skada undersöktes. I studien deltog 15 vuxna personer, 6 kvinnor och 9 män, mellan 30 och 82 år med förvärvad hjärnskada. Deltagarna testades avseende prosodi samt med delar ur Neurolingvistisk afasiundersökning (A-ning). Resultatet visade att prosodiska avvikelser förekom hos deltagarna på ord- fras- och diskursnivå. Inga tydliga samband fanns mellan prosodisk förmåga och skadelokalisation eller tid sedan skada. Högersidiga skador föreföll dock ge svårigheter att använda fokal accent, trots bevarad förmåga att använda ordaccenter. Vidare sågs ett samband mellan prosodisk och språklig förmåga. Undersökningsmaterialet för prosodi var användbart för testning av personer med förvärvad hjärnskada, men behöver utarbetas ytterligare. Föreliggande studie bidrar till kunskapen om prosodisk förmåga hos vuxna personer med förvärvad hjärnskada och svenska som modersmål.