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This dissertation proposes that the Sonatine broadly unfolds a kinetic structure that stems from the traditional tension-relief model and, consequently, its dependence on tradition proves much deeper than Boulez would acknowledge.

Comme toutes modulations multiporteuses, l'OFDM souffre d'une forte variation d'amplitudes qui se traduit par un PAPR élevé. Cette caractéristique de l'OFDM la rend très sensible aux non-linéarités de l'amplificateur de puissance. Pour faire face à cette problématique, on peut surdimensionner l'amplificateur de puissance (solution non efficace en terme de rendement énergétique), linéariser l'amplificateur via les techniques de pré-distorsions, ou réduire le PAPR du signal avant amplification. L'objectif de cette thèse s'inscrit dans cette dernière thématique et plus particulièrement sur les techniques dites d'ajout de signal.Dans cette thèse, après une étude sur l'état de l'art des techniques de réduction du PAPR et en particulier les techniques dites d'ajout de signal, nous avons développé et proposé de nouvelles techniques de réduction du PAPR. Ces contributions s'articulent principalement autour des techniques de Clipping et de la Tone Reservation. / One of the main drawbacks of the OFDM modulation scheme is its high Peak-To-Average Power variation (PAPR) which can induce poor power efficiency at the transmitter amplifier. The digital base band pre-distortion for linearisation of power amplifier and the PAPR mitigation are the most commonly used solution in order to deals with efficiency and linearisation at the high power amplifier. This thesis is focused on the PAPR mitigation solution, and particularly on the adding signal based techniques. The proposed solutions in this report are about improving the Tone Reservation method which is the most popular adding signal based technique for PAPR mitigation, and also the classical clipping method which is the most simple method (in terms of computational complexity) actually.

by Cheng Yat Ho. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1991. / Bibliography: leaves 106-108. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- Preliminary Considerations --- p.8 / Chapter 2.1 --- Tone System of Cantonese --- p.8 / Chapter 2.2 --- Tone Classification Systems --- p.14 / Chapter 2.3 --- Design of a Speech Corpus --- p.17 / Chapter Chapter 3 --- Feature Parameters for Tone Classification --- p.22 / Chapter 3.1 --- Methodology --- p.22 / Chapter 3.2 --- Endpoint Detection and Time Alignment --- p.23 / Chapter 3.3 --- Pitch --- p.27 / Chapter 3.3.1 --- Pitch Profile Extraction --- p.28 / Chapter 3.3.2 --- Evaluation of Pitch Profile --- p.33 / Chapter 3.3.3 --- Feature Parameters Derived from Pitch Profile --- p.40 / Chapter 3.4 --- Duration --- p.46 / Chapter 3.5 --- Energy --- p.49 / Chapter 3.5.1 --- Energy Profile Extraction --- p.49 / Chapter 3.5.2 --- Evaluation of Energy Profile --- p.50 / Chapter 3.6 --- Summary --- p.54 / Chapter Chapter 4 --- Implementation of the Tone Classification System --- p.56 / Chapter 4.1 --- Intrinsic Pitch Estimation --- p.59 / Chapter 4.2 --- The Classifier --- p.63 / Chapter 4.2.1 --- Neural Network --- p.64 / Chapter 4.2.2 --- Post-Processing Unit --- p.74 / Chapter Chapter 5 --- Performance Evaluation on the Tone Classification System --- p.76 / Chapter 5.1 --- Single Speaker Tone Classification --- p.77 / Chapter 5.2 --- Multi-Speaker and Speaker Independent Tone Classification --- p.82 / Chapter 5.2.1 --- Classification with no Phonetic Information --- p.83 / Chapter 5.2.2 --- Classification with Known Final Consonants --- p.88 / Chapter 5.3 --- Confidence Improvement of the Recognition Results --- p.95 / Chapter 5.4 --- Summary --- p.101 / Chapter Chapter 6 --- Conclusions and Discussions --- p.102 / References --- p.106 / Chapter Appendix A --- Vocabulary of the Speech Corpus --- p.A1-A4 / Chapter Appendix B --- Statistics of the Pitch Profiles --- p.Bl-Bl5 / Chapter Appendix C --- Statistics of the Energy Profiles --- p.Cl-Cl1 / RESULTS

Wong, Hoi Yan. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

This thesis is concerned with the perception and production of lexical tone. In the first experiment, categorical perception of asymmetric synthetic tone continua was examined in speakers of tonal (Thai, Mandarin, and Vietnamese) and non-tonal (Australian English) languages. It was observed that perceptual strategies for categorisation depend on language background. Specifically, Mandarin and Vietnamese listeners tended to use the central tone to divide the continuum, whereas Thai and Australian English listeners used a flat no-contour tone as a perceptual anchor; a split based not on tonal vs. non-tonal language background, but rather on the specific language. In the second experiment, tonal (Thai) and non-tonal (Australian English) language speaking musicians and non-musicians were tested on categorical perception of two differently shaped synthetic tone continua. Results showed that, independently of language background, musicians learn to identify tones more quickly, show steeper identification functions, and display higher discrimination accuracy than non-musicians. Experiment three concerns the influence of language aptitude, musical aptitude, musical memory, and musical training on Australian English speakers‟ perception and production of non-native (Thai) tones, consonants, and vowels. The results showed that musicians were better than non-musicians at perceiving and producing tones and consonants; a ceiling effect was observed for vowel perception. Musical training per se did not determine acquisition of novel speech sounds, rather, musicians‟ higher accuracy was explained by a combination of inherent abilities - language and musical aptitude for consonants, and musical aptitude and musical memory for tones. It is concluded that tone perception is language dependent and strongly influenced by musical expertise - musical aptitude and musical memory, not musical training as such. / Doctor of Philosophy (PhD)