In 1924, Herbert Eimert’s Atonale Musiklehre was the first published text to describe a systematic approach to composing atonal music. It contains significant contributions to the discourse on the early development of twelve-tone composition. While Eimert uses the term “atonal” to describe his compositional approach, his definition of atonality demands that all twelve tones be present with none repeated, and that they present as complexes not ordered rows. Eimert’s discussion of atonality differs from others of the same period because he focuses on vertical sonorities and introduces “interlocking complexes”, wherein two separate statements of the aggregate can overlap by one pitch or by a set of pitches. Interlocking complexes are an important feature of Eimert’s string quartet Fünf Stücke für Streichquartett, which was published in 1925 and composed at the same time as Atonale Musiklehre was written. In the foreword to Atonale Musiklehre, Eimert clarifies that he is not the originator of the concept of atonality, rather that he absorbed the ideas of Josef Matthias Hauer and Jefim Golyscheff. Twelve-tone complexes appear first in Golyscheff’s 1914 String Trio. He refers to them as “twelve-tone duration complexes” and labels them in the score. As the name “duration complexes” implies, there are examples of serial rotation of rhythm in the Trio, a technique that is not developed further until the 1950s. Combined with the text of Atonale Musiklehre, the compositions of Golyscheff and Eimert from the year immediately following the book’s publication provide insight into the early development of “atonality” and twelve-tone compositional methods. Investigation of these documents that have not been thoroughly discussed in print provides a broader perspective of the development of these methods of composition.

Micro-Images for Solo Flute, Genera for Flute/Alto Flute/Bass Flute and Clarinet/Bass Clarinet, and Poème exotique for Flute and Piano by American composer Daniel Kessner (b. 1946) utilize a hybrid compositional approach in which microtones are incorporated with more traditional chromatic writing. Through representative musical examples from each piece, this document highlights the timbral, dynamic and pacing complexities associated with the microtonal fingerings and prompts flutists to forgo idiosyncratic tendencies in favor of contextually based choices. In order to help guide musicians toward effective performances of these three pieces and similar works, a new tone color spectrum and description of relative dynamics are provided along with a discussion of the relationships between tone colors, relative dynamics and temporal pacing. Appendices include transcripts of email interviews with composer Daniel Kessner and Carla Rees, British contemporary flutist, as well as an updated list of Kessner’s flute works.

Background: Speech production in Bantu languages places great demands on neuromotor control, because unique speech motor behaviours such as syllabic tone variation and the aspiration of speech sounds require an additional level of vocal fold control compared to speech production in Germanic languages. As these motor behaviours play an important role in differentiating the meaning of words (Van der Merwe & Le Roux, 2014a), neuromotor speech disorders such as dysarthria may have a greater impact on communication in Bantu languages than in Germanic languages. The focus of this study was on syllabic tone variation in Bantu language speakers with dysarthria compared to typical speakers. Sepedi was the Bantu language investigated. Syllabic tone variation refers to pitch level changes for every syllable of words in a tone language (Zerbian & Barnard, 2008a) and requires manipulation of vocal fold length and mass over and above the voicing or devoicing of sounds within words. These pitch changes convey the lexical and grammatical meaning of words and may differentiate between the meanings of two orthographically identical words (Zerbian & Barnard, 2008a). Studies on lexical tone variation in speakers with dysarthria to date have focused mostly on the tone languages of Asia and Scandinavia (Kadyamusuma, De Blesser, & Mayer, 2011). No studies of tone variation in Bantu language speakers with dysarthria were found. Furthermore, past research only regarded tone variation in monosyllabic words, with no reference to how tone would be affected across bisyllabic words and within each of the two syllables of these words. No inquiries were made into the tone variation ability of speakers with dysarthria when producing short utterances compared to longer utterances and mostly speakers with congenital dysarthria were used as research participants. These shortcomings needed to be addressed to gain a more holistic and accurate view of the extent to which tone variation is a challenge for Bantu language speakers with dysarthria. Aims: The first aim of the study was to determine whether a difference exists between typical Sepedi speakers and Sepedi speakers with dysarthria, in their ability to vary tone across CVCV words with a HL tone pattern. The second aim of the study was to determine whether a difference in tone variation exists between short and longer utterances in typical Sepedi speakers and Sepedi speakers with dysarthria. Method: A quasi-experimental, between-group comparison was used in the study. Speech samples were obtained from a control group of five typical Sepedi speakers and from an experimental group of four Sepedi speakers with dysarthria. These speech samples consisted of 20 consonant-vowel-consonant-vowel (CVCV) words with high-low (HL) tone variation produced in three- and also in six- /seven-syllable utterances (resulting in a total of 40 words). The speech samples were analysed acoustically using Praat software. To achieve the first aim, the following acoustic measures were obtained from the 40 words produced by participants: (1) Mean fundamental frequency (F0) of syllable 1 (S1) and syllable 2 (S2), (2) Change in F0 across words from the highest F0 point of S1 to the lowest F0 point of S2, (3) Intrasyllabic change in F0 within S1 and S2. To achieve the second aim of the study, the change in F0 across words in short utterances was compared to the change in F0 across words in longer utterances for the typical speakers and speakers with dysarthria. Results: Wilcoxon rank tests were used for statistical analyses. Descriptive statistics were performed and median values were used to achieve research aims. All of the control participants and participants with dysarthria produced S1 with a higher mean F0 than S2, as was appropriate for the HL tone pattern ascribed to the target words. For most of the individuals from both groups, the mean F0 of S1 was significantly higher than the mean F0 of S2. However, one participant from each group produced an insignificant difference between the mean F0 values of the two syllables. The control group produced slightly greater median F0 changes across the words and within S1 than the dysarthria group, but the differences between the speaker groups for the change in F0 across words and the change in F0 within S1 were insignificant. In contrast to this, the control group produced a significantly smaller median change in F0 within S2 than the dysarthria group. Individual speakers from both groups produced unique patterns of F0 changes for all aspects of tone variation (change in F0 across words and changes in F0 within S1 and S2). Both speaker groups produced a significantly greater median change in F0 across words in short utterances compared to long utterances. The difference in the change in F0 across words between short and long utterances was significantly greater for the control group than for the dysarthria group. Conclusions: The speakers with dysarthria in the study maintained the ability to vary tone across bisyllabic words with an HL tone pattern. The dysarthria group only differed significantly from the control group with regard to the extent of tone reduction in the second syllable. This finding may point to possible difficulties in the required graded relaxation of the vocal folds. Individual differences in F0 changes were found for both typical speakers and speakers with dysarthria, indicating that unique tone variation patterns may normally exist for all speakers. For both control and dysarthria groups, greater tone variation was observed in short compared to longer utterances. The role of increased utterance length in decreased F0 variation was greater for the typical speakers than for the individuals with dysarthria. / Dissertation (M Communication Pathology)--University of Pretoria, 2016. / Speech-Language Pathology and Audiology / M Communication Pathology / Unrestricted

No abstract or keywords provided in dissertation / African Languages / M.A. (Bantu Languages)

This is a study of Mandarin third tone (T3) sandhi produced by learners learning Mandarin as a second language, third language, or heritage language. I investigate factors affecting learners’ Mandarin T3 sandhi performance measured by two constructs, comprehensibility and accentedness. T3 sandhi in Mandarin is a phonological property that learners of Mandarin need to acquire on top of the four lexical tones (i.e., Tone 1 high level, Tone 2 rising tone, Tone 3 dipping tone, and Tone 4 falling tone). T3 sandhi is a process that which lexical tones alternate categorically, changing from the underlying tone sequence of T3T3 to T2T3. This process is motivated by the underlying trochaic feet of Mandarin (Qu, 2013). 67 Chinese learners passed the screening test (i.e., reading monosyllabic words with satisfactory tone production) to ensure that they could produce basic lexical tones before their tone sandhi production was evaluated. The eligible learners’ reading of the experimental wordlist that consists of 40 disyllabic words (i.e., 20 sandhi words and 20 non-sandhi words) was judged by 20 native speakers of Chinese in terms of comprehensibility and accentedness on a scale of 1 to 9 (e.g., Munro & Derwing, 1995; Saito, Trofimovich & Isaacs, 2017). The primary findings of the study are 1) Comprehensibility and accentedness were confirmed to be two distinct constructs as learners were found to perform significantly differently on these two constructs (both p < .05). 2) Previously learned foot structure, either from first or second language (L1footness or L2footness), were found significantly predict L3 comprehensibility and accentedness. L1footness was correlated with better performance: higher comprehensibility and lower accentedness ratings. The finding of L2footness’ correlation with worse performance in comprehensibility and accentedness was confounding but caused by low exposure to the target language Mandarin. 3) Exposure to the target language, measured by total learning length, the number of Chinese courses taken and total time spent in China, was found significantly influence comprehensibility and accentedness. This shows the importance of teasing apart effects of exposure and language transfer in L3 acquisition studies, which echoes with Puig-Mayenco and Rothman (2020). 4) Heritage learners were not found to have any acquisitional advantages over non-heritage learners as there were no significant differences between heritage versus non-heritage learners. Furthermore, Cantonese learners were found to perform worse than L2 learners on T3 sandhi words (where T3 sandhi rules need to apply) but not on non-sandhi words due to their lack of foot structure in their heritage language Cantonese. This suggests the heterogeneous nature of the Chinese heritage learner population, and Cantonese heritage learners and Mandarin heritage learners should be distinguished at least for prosodic feature acquisition. / Graduate

The performance of vocal works using the twelve-tone technique requires thorough study of complex rhythms, non-tonal melodies, non-traditional notations, and specific musical terms. They generally also require advanced and varied vocal techniques. Twelve-tone vocal works often contain unusual features vital to the composer's intention. One of the premiere twelve-tone composers in the United States, Donald Martino (1931-2005) composed only two solo vocal works using the twelve-tone technique: Three Songs (1955) and Two Rilke Songs (1961). He has explored innovative and progressive uses of the twelve-tone technique, and composed music with particular methods of his own, later used by other composers. Three Songs, his first twelve-tone work, and Two Rilke Songs, the only twelve-tone song cycle in his mature style, present comparable features in his use of the twelve-tone technique, text setting, and notations. The variety of ways in which Martino uses these features in the song cycles is discussed in the performance guide. The intention of the present study is to help performers, especially singers, understand Donald Martino's two twelve-tone song cycles, and to aid in the preparation of an excellent performance. The study includes a study of historical context, the poems, and Martino's compositional and aesthetic approaches to setting them. It also offers practical and systemized ways of analyzing and preparing Martino's songs for performance. It is hoped that the methods suggested herein will reduce a singer's difficulties and rehearsal time with the pianist. The present study will offer a valuable addition to the literature on the performance practice of twelve-tone vocal music, and provide insight and advice on how to practice and perform other non-tonal music. This method of study may be applied to other contemporary music. Doing so can in turn help develop a singer's skill in handling tonal and rhythmic difficulties of all kinds, including non-traditional notations.

No description available.

No description available.

Peters (1985), defines racial socialization as "tasks Black parents share with all parents - providing for and raising children ... but include the responsibility of raising physically and emotionally healthy children who are Black in a society in which Black has negative connotations" (p. 161). Racial socialization is a complex multidimensional construct and scholars have made attempts to capture the essence of its process. However, due to its complexity, no single or commonly accepted definition currently exists in the literature (Lesane-Brown, 2006). To date, most of the racial socialization literature has addressed the types of messages that African American parents transmit to their children, for example, preparation for bias and promotion/socialization of mistrust (Hughes & Chen, 1999). However, what is specifically absent in the current racial socialization literature are the types of messages transmitted to African American women related to skin tone. Sociologists and psychologists have demonstrated that the racial socialization of skin tone impacts an African American woman's sense of self worth and efficacy (Boyd-Franklin, 1989; 2003; Jones & Shorter-Gooden, 2004). Utilizing a qualitative methodological design, with a phenomenological orientation, the purpose of this study was to better understand the lived experiences of the racial socialization of skin tone in a cohort of older African American women. Twenty older African American women (10 light skinned and 10 dark skinned) from three mid-sized, Midwestern cities were interviewed utilizing an adapted classical phenomenology interview approach (Siedman, 2006). This researcher, two-hour semi-structured interviews, and 30-60 minute formal member checks were the primary research tools implemented to obtain rich data for this project. Once the interview data was collected, the interviews were professionally transcribed verbatim to capture the full essence of the participants' lived experiences of the phenomenon under investigation. The data were then critically and rigorously analyzed, by hand, utilizing a phenomenological data analytic method as outlined by Hycner (1985; 1999). Five salient thematic domains, along with twenty-three subthemes, emerged from the phenomenology data analysis procedure. An additional verification method (i.e., inter-rater reliability Kappa coefficient) was employed to assist in cross-validation of the study's findings (Landis & Koch, 1977). Kappa coefficients demonstrated that of the twenty-three subthemes, which emerged from the analysis, 7 had slight inter-rater agreement 5 had fair inter-rater agreement, 7 had moderate inter-rater agreement, 2 had substantial inter-rater agreement, and 2 had almost perfect inter-rater agreement. Limitations of the current study, recommendations for future research, and recommendations for clinical practice are also discussed.

This dissertation studies the synchronic phonetics of the tonation systems of five Vietic (Austroasiatic) varieties, Arem (ISO: aem), Rục (ISO: scb), and three North-Central Vietnamese (ISO: vie) dialects, Cổ Định (Thanh Hoá province), Nghi Ân (Nghệ An province), and Diêm Điền (Quảng Bình province) with the aim of improving reconstructions of Proto-Vietic tonation. Tonation is a cover term for tone and register, two phonological contrasts frequently encountered in many East and Southeast Asian languages. These two contrasts can be realized on the rhyme by differences in f0, phonation type, and duration, but also, especially in the case of register, by differences in vowel quality and by modulations of closure duration and voice onset time in onset consonants. Tone usually derives from the loss of laryngeal codas (tonogenesis), while register typically originates from the loss of voicing contrast in onset obstruents (registrogenesis). Onset devoicing can also lead to the formation of two-tone systems or double the number of tones in tonal languages. Different hypotheses have been advanced to explain the phonetic underpinnings of tone and register development, their shared phonetic properties, and intersecting segmental origins, but experimental evidence is needed to validate these hypotheses. The results show that Arem contrasts high and low registers realized by means of a breathier phonation and more closed vowels in the low register. However, Proto-Vietic final glottals, *-ʔ, *-h, and glottalized sonorant codas are still preserved in the language, and their effects on duration, f0, and phonation of preceding vowels are too variable across registers and speakers to consider Arem as tonal. The study of the tonation system of Rục shows that it has four tones in open and sonorant-ending syllables. These tones can be grouped into two high-register tones and two low-register tones that are distinguished by consistent differences in f0, phonation type, vowel quality, and to a lesser extent, vowel duration and VOT. The final fricative *-h is still preserved in Rục, and syllables ending in this coda exhibit no f0 difference, but they feature all other register properties. Hence, Rục has a hybrid system of tone and register. The results of the perception experiment reveal that Rục participants use the same phonetic cues in their perception as in their production of tonation, with roughly the same prominence for each cue. I then turn to the three North-Central Vietnamese dialects and show that they have different numbers of tones and make use of different phonetic properties to realize these tones. Different post-tonogenetic changes also led to distinct tone mergers in these dialects. Traces of register-conditioned variation in phonation type and vowel quality are limited in these varieties, but the low-register tone A2 in Diêm Điền was found to preserve breathy phonation, which is likely to be a remnant of the low register in Proto-Việt-Mường. Vowel quality was found to be conditioned by the tense phonation of tones in the low f0 range in Cổ Định and Nghi Ân, but I argue that this is not a remnant of register, a conclusion strengthened by an investigation showing that there is little evidence for register-conditioned vowel changes from Proto-Vietic to modern Northern Vietnamese. Since there is either a register contrast or remnants of register in all branches of Vietic, I propose to reconstruct a register contrast in Proto-Vietic, against previous proposals postulating that it had a voicing contrast. This register contrast evolved differently in different daughter languages and interacted with various patterns of retention of laryngeal codas, resulting in diverse tonation systems in Vietic languages. By combining insights on the typology of tonogenetic effects gained from my investigation of Rục and Arem glottal codas and on evidence from correspondences between Chinese and Sino-Vietnamese tones, I further propose that tonogenesis from codas is likely to have happened in Proto-Việt-Mường from the 9th to 12th century CE, which is later than previous proposals.