The Intonation of American English Simplified

Pike, Eunice V.

doi:10.1080/00437956.1985.11435874

Cited by 61 publications

(70 citation statements)

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“…Simple categorical distinctions among timing units in language (e.g. "stress" versus "syllable" timing; Abercrombie, 1967;Pike, 1945) have not received strong empirical support (Hoequist, 1983;Roach, 1982); similarly, timing in music is significantly more complex and flexible than is commonly assumed. It is remarkable that listeners are able to perceive durational categories corresponding to the eighth-notes, quarter-notes, half-notes, and so forth, of musical notation because the actual durations measured in music performance deviate greatly from notated categorical durations (Clarke, 1987;Longuet-Higgins & Lee, 1982).…”

Section: Temporal Categorization and Attentional Constraintsmentioning

confidence: 99%

Perceiving temporal regularity in music

2002

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We address how listeners perceive temporal regularity in music performances, which are rich in temporal irregularities. A computational model is described in which a small system of internal self-sustained oscillations, operating at different periods with specific phase and period relations, entrains to the rhythms of music performances. Based on temporal expectancies embodied by the oscillations, the model predicts the categorization of temporally changing event intervals into discrete metrical categories, as well as the perceptual salience of deviations from these categories. The model's predictions are tested in two experiments using piano performances of the same music with different phrase structure interpretations (Experiment 1) or different melodic interpretations (Experiment 2). The model successfully tracked temporal regularity amidst the temporal fluctuations found in the performances. The model's sensitivity to performed deviations from its temporal expectations compared favorably with the performers' structural (phrasal and melodic) intentions. Furthermore, the model tracked normal performances (with increased temporal variability) better than performances in which temporal fluctuations associated with individual voices were removed (with decreased variability). The small, systematic temporal irregularities characteristic of human performances (chord asynchronies) improved tracking, but randomly generated temporal irregularities did not. These findings suggest that perception of temporal regularity in complex musical sequences is based on temporal expectancies that adapt in response to temporally fluctuating input.

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Section: Temporal Categorization and Attentional Constraintsmentioning

confidence: 99%

Perceiving temporal regularity in music

2002

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“…categorized as mora-timed, such as Japanese, stress-timed, like English and German, and syllable-timed, such as Chinese and French [25], [26]. English is a stress-timed language, and the unstressed syllables are quite weak, so it is possible for coarticulatory effect to extend to the third syllable in English.…”

Section: Discussionmentioning

confidence: 99%

The Effect of Carry-over Coarticulation of Bi-Syllabic Words in Chinese

Wang¹,

Zi²

2014

IJIET

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Abstract-In this study, trans-consonantal vowel-to-vowel coarticulation in Chinese is investigated. The target words are in the form of 'bV 1. ba', and the subjects are eight native speakers of standard Chinese. Vowel formants are examined at the onset, middle and offset points of the target vowel. Results show that trans-segmental coarticulation exists in Chinese, especially at the onset point, as well as for the second formant of the target vowel. Coarticulation is more likely to occur on F 2 , and in Chinese, coarticulatory effect does not extend to the offset point of the vowel.

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“…Selline kahene jaotus põhineb samuti kõne ajalistel tunnustel ning on seotud isokroonia ehk samakestuslikkuse mõistega (Pike 1945), mis viitab sellele, et prosoodilise süsteemi keskse üksuse (nt silbi) kestus hoitakse sama pikana. Isokroonia ei ole absoluutne mõiste, vaid pigem püüdlus mingite üksuste sarnasele pikkusele (vt lähemalt Asu & Lippus et al 2016: 30).…”

Section: Rütmi Tüpoloogiaunclassified

Eestirootsi keele prosoodia tunnusjooni

Asu

2017

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Teesid: Eestirootsi ehk rannarootsi keelt räägiti Eesti läänepoolsetel rannikualadel ja saartel laialdaselt kuni Teise maailmasõjani, mil enamik eestirootslastest emigreerus Rootsi. Praeguseks on see rootsi keele murre säilinud ainult umbes paarisaja eaka Rootsis elava kõneleja omavahelises keelekasutuses. Artiklis vaadeldakse lähemalt eestirootsi keele prosoodia tunnusjooni, keskendudes sõna-toonidele ja rütmile. Sõnatoonide realiseerumise võrdlus kahesilbilistes sõnades näitab, et eestirootsi (nagu ka soomerootsi) keeles ei esine riigirootsi keelele nii iseloomulikku sõnatoonide vastandust. Eestirootsi, riigirootsi ja eesti keele rütmi võrdlusest selgub aga, et erinevalt püstitatud hüpoteesist, mille järgi eestirootsi võiks rütmiliste näitajate poolest paigutuda riigirootsi ja eesti keele vahele, on eestirootsi rütm oma kestusnäitajate poolest siiski väga sarnane riigirootsi rütmile.

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The Intonation of American English Simplified

Cited by 61 publications

References 0 publications

Perceiving temporal regularity in music

Perceiving temporal regularity in music

The Effect of Carry-over Coarticulation of Bi-Syllabic Words in Chinese

Eestirootsi keele prosoodia tunnusjooni

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