本論文以優選理論探討上海話之入聲變調，試圖將文獻中所認為表現不規律之入聲變調納入與舒聲變調相容之分析中。本研究認為入聲變調與舒聲變調皆受制於ANCHOR-L(tσ1, Hd)，因此其首音節之基底聲調在輸出值中皆出現於重讀音節。以此觀之，則入聲變調與舒聲變調的差異主要在於節律重音的位置：在舒聲變調中首音節重讀；在入聲變調中重音則後移──在陰入變調中係移至第二音節，在陽入變調中則移至末音節。 本論文提出兩點假設：上海話中舒聲音節為重量音節，入聲音節為輕量音節；節律結構基本上為一位於左端之雙音節音步。據此，本研究提出COINCIDE (LightHd, FT-final)，認為陰入變調中重音所以後移至第二音節是因為重讀之輕量音節傾向於由音步末音節核可(licensing)。另一方面，由於陽入的單字調為曲拱調，與陰入的水平調有別，是以本研究另外提出COINCIDE(Contour, PrWd-final)，此制約顯示陽入變調中重音的遠距移位是為了遵行「曲拱調須由末音節核可」之普遍現象。 綜述之，本論文提供了一個重量音節、節律重音、曲拱調以及邊際位置等韻律顯著位置間彼此對映的實例。此外，本研究亦顯示上海話的連讀變調涉及聲調與重音的互動，是以所提出之分析或許對相關類型之研究亦有所貢獻。 / This thesis offers an Optimality-theory approach to the tone sandhi of checked tones (TSC) in Shanghai, in an attempt to regulate its surface patterns which have long been considered anomaly as opposed to the tone sandhi of smooth tones (TSS). With a reanalysis in the present study, TSC and TSS arguably have in common that their process of tone mapping is both subject to ANCHOR-L(tσ1, Hd), by which the un- derlying tone of the initial syllable ends up at the stressed syllable in the output. It follows that TSC is different from TSS in the way that metrical head is assigned: all domains undergoing TSS are stressed on their initial syllable; only in domains of TSC does the stress move rightwards, either to the second place in the tone sandhi of Yinru (TSYI), or to the final syllable in the tone sandhi of Yangru (TSYA). Given the assumption that checked syllables and smooth syllables in Shanghai are light and heavy, respectively, in terms of moraicity, and that foot-parsing is binary and left-aligned in general, the one-syllable shift of stress in TSYI can be accounted for by positing COINCIDE(LightHd, FT-final), which sets up the preference for light stress- bearing syllables to be licensed foot-finally. On the other hand, given that Yangru in the citation forms represents a rising contour, different from the level tone of Yinru, a licensing constraint, namely COINCIDE(Contour, PrWd-final), is further posited so that the long-distance movement of metrical head observed in TSYA emerges to satisfy the requirement for the retained rising contour to be licensed word-finally. Taken together, this thesis instantiates a remarkable case of the mapping among multiple prominent positions, including heavy syllables, metrical head, contour tones, and edge positions. Also, the present analysis demonstrates that Shanghai tone sandhi involves an interaction between tone and stress, thus a contribution to the general OT tone-prominence typology literature (cf. Zhang 2001, Barnes 2002, De Lacy 2002).

Lietuvių kalboje vartojama nemaža skolinių, vadinamųjų tarptautinių žodžių. Bendrinė tarptautinė leksika – tai viena svetimos leksikos dalis. Visgi egzistuoja ir dar viena, ne mažiau svarbi ir aktuali tarptautinės leksikos dalis – kitų šalių (tarptautiniai) tikriniai žodžiai. Šiai leksikos daliai tirti ir skirtas šis magistro darbas. Darbo tema – kitų šalių tikrinių žodžių kirčiavimas „Visuotinės lietuvių enciklopedijos“ I tome (VLE I). Šio leksikos klodo kirčiavimo tyrimai gana skurdūs, lyginant su savos kilmės tikrinių žodžių grupėmis, todėl taisyklingam kirčiavimui būtinų žinotinų bendrųjų dėsningumų išskyrimas pravartus ir tikslingas. Apskritai ši leksikos dalis Lietuvoje nedaug tirta, taigi darbo tema šiuo atveju pasirinkta neatsitiktinai, yra gana aktuali. Tirti „Visuotinės lietuvių enciklopedijos“ I tomo (VLE I) pavyzdžiai. Šio darbo tyrimo objektas – kitų šalių tikriniai žodžiai – tam tikri nelietuviškos kilmės asmenvardžiai ir vietovardžiai (asmenvardžių dalis gerokai – kone du kartus – didesnė). Žodžių „Kita“, į kurią įeitų kiti nelietuviški tikriniai žodžiai, atsisakyta, kadangi tokių pavadinimų dažniausiai pateikiamos tik originalo kalbos formos, o darbe, remiantis lietuvių kalbos kirčiavimo sistemos dėsningumais, nagrinėjamos tik adaptuotos formos. Pagrindinis magistro darbo tikslas – nustatyti kirčiavimo paradigmas, ištìrti ir pateikti kitų šalių tikrinių žodžių kirčiavimo dėsningumus „Visuotinės lietuvių enciklopedijos“ I tome. Siekiama ne tik akcentuoti... [toliau žr. visą tekstą] / Lithuanian language has many adopted words, they are called international words. Common international lexis – is one part of the foreign lexis. Also there is alike important part of international lexis – the proper words of foreign language. This paper of master degree is all about the proper words of foreign language. The goal of that essay is to research the proper words of foreign languages in the “Universal Lithuanian encyclopaedia” volume I (ULE I). That line of accentuation analysis is quit barren comparing to the groups of the native proper words. Therefore the exclusion of the consistency of the correct accentuation is useful and has its meaning and purpose. Mostly that part of lexis is very little researched in Lithuania. Accordingly to that fact has risen the purpose of writing the paper on such subject. Here were researched the examples of the “Universal Lithuanian encyclopaedia” volume I (ULE I). The subject of that research was the proper words of foreign language – some particular personal names and place-names (personal names were researched almost twice bigger part comparing to the place-names). Such words as „Other“, witch would include other foreign proper words were declined because the names of such words usually has the form of original language. In that work which is supported on the consistency of the accentuation in Lithuania language, was researched only adopted form of words. The main task of this paper of master degree is to set paradigms of the... [to full text]

Studenter med ett icke-tonspråk som modersmål brukar ha svårigheter att lära sig de kinesiskatonerna när de börjar sina studier. Å ena sidan brukar kursböckerna på denna nivån användabara enstaviga ord och det har ansetts vara god pedagogik att läraren visar tonkonturerna medsina händer. Å andra sidan har forskningen om kinesiska länge varit koncentrerad på vilkavärden som grundtonen (F0) uppvisar i enstaviga ord. Det är många faktorer som tvärspråksforskningeninte har uppmärksammat, bl.a. det inflytande som konsonanterna har på F0 (vilketinfödda talare inte alltid är medvetna om).Det finns ingen samsyn när det gäller att förklara tonförväxlingsmönstren. Tidigare teorierinom ämnet andraspråksinlärning (Second Language Acquisition, SLA), som Perception AssimilationModel (PAM) och Speech Learning Model (SLM) har visat sig otillräckliga förstudiet av tonperception. På senare tid har PAM-Suprasegment försökt förklara hur den lärandesmodersmål antas närma sig kinesiskans tonsystem men modellen tar inte upp ordprosodin.Eftersom den moderna kinesiskans ordförråd till majoriteten består av tvåstaviga ord börforskningen lämna gamla spår för att finna andra kriterier – som duration och betoning – föratt förklara hur man lär sig höra kinesiskans toner, t.ex. vad som händer när två toner återfinnsi ett ord.Denna studie har som mål att ta reda på hur svenskar som studerar kinesiska som andraspråk/främmande språk uppfattar tonerna i kinesiska tvåstaviga ord. Experimentet bygger intepå tillrättalagda testord. Resultaten visar att tonerna först och främst påverkas av den initialakonsonanten och sedan av de omgivande tonerna. Vidare visas att det svenska systemet medaccent I och II i sin tur kan åstadkomma tonförväxlingar eftersom kinesiska tvåstaviga orddelvis uppvisar samma mönster.Resultaten illustrerar att tonidentifiering är en dynamisk och komplex process. Det krävsfortsatt forskning om tonerna för att få grepp om dem men det kan inte stanna där: interaktionenmellan ljud och ordprosodi behöver belysas bättre för att uppnå god behärskning avprosodin i språkundervisningen. / Foreign adult students with atonal language usually have, in the beginning of their Chinesestudy, difficulties to identify the Chinese tones. On one side, only monosyllabic tones arementioned in course books during this earlier stage and to illustrate the tone contours withhands has been treated as an effective pedagogy. On the other side, research on Chinese hasfor long been solely concentrated upon the values of the fundamental frequency (F0) of thevowels in monosyllabic words. In cross-linguistic studies many factors, among others the effectsof consonants on F0 that native speakers are not aware of, have still not been paidspecial attention to.There is no consensus regarding the explanation to tone confusion patterns. Earlier theoriesof Second Language Acquisition (SLA) like Perception Assimilation Model (PAM) andSpeech Learning Model (SLM) are no longer suited for tone perception. Recently, PAMSuprasegmenthas tried to approach that the intonation of the learners’ native language is assumedto be assimilated to the Chinese tone system. However, this model ignores the wordprosody. Nowadays, when the modern Chinese vocabulary consists of a majority of disyllabicwords, research has to be re-directed to find other criteria e.g. temporal and stress for explainingthe complexity of Chinese tone perception, i.e. how two tones behave when they arecombined in one word.The purpose of this essay is to explore how native Swedish speakers learning Chinese assecond/foreign language perceive the Chinese tones of disyllabic words. The experiment isnot based on elaborated test words. The results show that tones are first of all affected by theinitial consonants and sequentially influenced by the surrounding tones with accordance toChinese. It further reveals that Swedish accent I/II patterns might be a reasonable explanationfor the Chinese tone confusion patterns since partially acoustic properties of Chinese disyllabicwords overlap the Swedish accents.These results mean that tone perception is a dynamic and complex process. Further researchon tone perception should explore profoundly and widen interaction between sounds andword prosody, which paves the way for more effective prosodic practice in language education.

對華語學習者而言，漢字的諸多特性使漢字閱讀成為學習者面臨的難點之一，而華語聲調也是許多學習者在聽和說上的難點。閱讀為連結字形與字音，再對應至字義的過程，因此本文以華語學習者為對象，嘗試找出漢字閱讀與華語聲調之間的關係，以不同形式的聲調標記（tone marker）作為視覺提示及不同熟悉度（word familiarity）的詞彙作為操弄變項，使用眼動儀（eye-tracker）為實驗工具，設計閱讀理解作業，了解聲調標記及詞彙熟悉度對閱讀程度不同的華語學習者在閱讀時的影響。 實驗採完全受試者內設計，操弄三種聲調標記（聲調輪廓、聲調數字及中性刺激）的實驗句呈現方式與實驗句中的目標詞熟悉程度（高、低），記錄閱讀實驗句的眼動資料。實驗共分三階段進行，每一階段受試者需閱讀具相同聲調標記的實驗句，並回答隨機出現的理解題；研究同時輔以中文年級認字量表、LEAP-Q問卷及目標詞理解程度問卷三項工具來評定受試者客觀及主觀上的中文閱讀程度差異，以及主觀對操弄目標詞的理解程度。眼動資料包含整體性、區域性及以實驗句中每個詞為單位分析的三種眼動表現，並以閱讀能力為分析變項，比較閱讀能力高、低兩組眼動表現的異同。 研究發現無論學習者閱讀程度為何，皆可以穩定地看到熟悉度的效果，閱讀高熟悉度詞彙的速度較快，顯示熟悉度影響了閱讀歷程。而聲調標記的效果較不明顯，但是聲調標記對低程度組的影響較大，且在閱讀高熟悉度詞彙時，添加帶有較多資訊的聲調輪廓標記可能是一種干擾，反之在閱讀低熟悉度詞彙時，可以幫助學習者辨識字詞。而在中文年級認字量表的結果中，有部分學習者容易將字唸為含有該字雙字詞的另一個字（蝶唸為蝴），這可能與學習者傾向以詞彙為單位記憶有關，因此本文也在最後進行詞素教學的相關討論，並針對華語學習者提出教學建議。

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<p> Hearing provides a vital means for infants to discover their environment and communicate with their caregivers. Identifying and discriminating the pitch of sounds is critical for infants in order to acquire information from speech and music. Therefore, how infants process pitch is a fundamental question in research on auditory development. The focus of this dissertation is the use of auditory event related potentials (ERPs) derived from electroencephalogram (EEG) recordings to examine the maturation of pitch perception in early infancy. </p> <p> Pitch perception in adults has been extensively studied, but little is known about the development of pitch perception during early infancy. Infant mismatch responses (MMRs) are ERP components that are elicited by infrequent changes in auditory stimuli. MMR is a promising tool to study infant pitch perception because it can be elicited without attention or a behavioural response. However, previous studies on MMRs in infants have reported inconsistent results, some reporting frontally positive responses while others report frontally negative mismatch responses. In Chapter 2, we examined MMRs to simple pitch changes in infants between 2 and 4 months of age and found both types of infant MMRs are present, but the morphological distributions and developmental trajectories are different. In Chapter 3, we reported that both types of infant MMRs are affected similarly by the amplitude of pitch change but only the positive MMR becomes stronger when stimulus presentation rate increases, which suggests different neural mechanisms for the two types of infant MMRs. The studies reported in Chapter 4 found that only the negative MMR can be elicited readily by changes in pitch patterns, suggesting that it may be functionally similar to mismatch negativity (MMN) in adults. </p> <p> The experiments in Chapter 5 used MMR as the indication of whether infants automatically integrate the frequency components of a complex tone into a single pitch percept, even when the fundamental frequency component (corresponding to the pitch) is removed. Previous studies show that adult MMN is elicited by a pitch change in such tones missing the fundamental. Previous behavioural studies using a conditioned head tum method show that 7-month-olds also perceive pitch with tones missing the fundamental. The results of the present study indicate that infants as young as 4 months of age integrate components into a single pitch percept, but evidence for this in younger infants could not be found. </p> <p> In conclusion, the current dissertation established a promising procedure utilizing infant MMR to study infant pitch perception and contributed to the knowledge of early development of pitch perception by demonstrating dramatic changes in brain response to pitch in harmonic tones in infants between 2 and 4 months old, and to pitch in tones in infants missing the fundamental between 3 and 4 months old . </p> / Thesis / Doctor of Philosophy (PhD)

In seinen Vingt Leçons d’Harmonie von 1939 versieht Olivier Messiaen zum Zweck des Studiums verschiedener harmonischer Stile von Monteverdi bis zur Gegenwart seine zwanzig selbst verfassten drei- bis fünfstimmigen Stilkopien mit bezifferten Bässen. Im Sinne einer Harmonie- und Kompositionslehre ist insbesondere die letzte Übung von Interesse, weil Messiaen in deren Titel keinen Komponisten als Vorbild der Stilübung nennt, sondern durch den Hinweis auf einen »sehr eigenartige[n], den indischen Gesängen etwas verwandte[n] Stil« auf seine eigene musikalische Sprache verweist. Dieser Beitrag zeigt anhand der 14. Übung (»sehr vielfältiger Stil: ein wenig Schumann, ein wenig Fauré, ein wenig Albeniz«), wie aus Messiaens Bezifferung eine Fundamentalbassfortschreitung, harmonische Prolongationen und harmoniefremde Töne abgelesen werden können. Eine analytische Interpretation der Bezifferung der letzten Übung nach denselben Kriterien ermöglicht es dann, für Messiaens eigene Musik typische syntaktische Harmoniefolgen zu definieren und zwischen harmonieeigenen und -fremden Tönen in seiner oft unter Verwendung der ›modes à transpositions limitées‹ komponierten Musik zu unterscheiden. Diese Einblicke in Messiaens Generalbassdenken werden in Analysen von Ausschnitten aus dem ersten und dritten Satz aus La Nativité du Seigneur (1935) sowie des fünften Lieds aus Poèmes pour Mi (1936) vertieft. / In Vingt Leçons d’Harmonie (1939) Olivier Messiaen offers twenty model compositions in three to five voices in harmonic styles ranging from Monteverdi to the present. All compositions are illustrated with figured-bass symbols, which is particularly revealing in the last example because Messiaen does not identify a composer whose music served as model but simply states that the movement is “in a very special style, somewhat approaching Hindu cantilenas,” in other words, written in his own idiom. This essay first demonstrates in the 14th example (“in a very hybrid style: a little Schumann, a little Fauré, a little Albeniz”) how Messiaen’s figured bass illuminates the fundamental-bass progression, harmonic prolongations, and non-harmonic tones. Read in a similar way, the figured-bass labels in the last example are then shown to bring to light syntactic harmonic progressions and distinctions between chordal and non-harmonic tones typical of Messiaen’s own music, which at the time often employed his modes of limited transpositions. These glimpses into Messiaen’s figured-bass thinking are further contextualized in analyses of excerpts from the first and third movement of La Nativité du Seigneur (1935) and of the fifth song from Poèmes pour Mi (1936).

This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.

Treize Etudes Pour L?Orchestre is a thirteen-movement symphonic work for full contemporary orchestra. The purpose of this work has been to develop a sonic exploration of textural possibilities through the orchestral medium. The motivic materials of the whole piece were first utilized in pieces for one piano, piano and cello and two pianos combinations These smaller pieces ahs been included in the appendix section of this work. The orchestral work does not represent an orchestration of the smaller pieces, but an expansion of the material into different textural studies. Preparation for this work includes the study of twelve different bird sounds, first recorded and later musically transcribed to create thematic materials and secondary materials for this work; the study of production of fabric of sounds representing color spectrums and intensity through sound tapestries, and the sonic representation of water, a starry dark night and the jungle. The Treize Etudes Pour L?Orchestre is formally a through-composed work. The different musical materials created as motive unity of the whole work have been developed throughout it by means of using a variety of compositional devices and techniques including Schoenberg?s Klangfarbenmelodie, Messiaen?s ?Language Musicale?, Ives? quadraphonic effect, and Samuel Adler?s sound curtain technique, and, the use of folk-like materials; all within the parameters of acoustic instrumentation.