Relevant bibliographies by topics / Just intonation

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Just intonation'

Author: Grafiati
Published: 4 June 2021
Last updated: 21 February 2023

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Journal articles on the topic "Just intonation"

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Gannon, J. William, and Rex A. Weyler. "Just intonation tuning." Journal of the Acoustical Society of America 100, no. 2 (1996): 692. http://dx.doi.org/10.1121/1.416227.

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Fretheim, Thorstein, and Randi Alice Nilsen. "Terminal Rise and Rise-fall Tunes in East Norwegian Intonation." Nordic Journal of Linguistics 12, no. 2 (December 1989): 155–81. http://dx.doi.org/10.1017/s0332586500002031.

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This paper argues that there is a phonological opposition between falling and non-falling utterance-terminal tunes in East Norwegian intonation. East Norwegian intonational foci are characterized by a rising pitch movement and there is no way that you can raise the pitch even further to express “rising intonation”. What you obtain instead is a distinction between a focal rise followed by a terminal fall in pitch and a focal rise without a subsequent falling terminal. The falling vs. non-falling terminal contrast is utilized differently in Intonation Units (IUs) with just one Intonational Phrase (IP) than in IUs with more than one Intonational Phrase. In the former type of IU structure a falling terminal constrains the illocutionary potential of the communicative act; in the latter type the falling terminal adds an attitudinal bias, without constraining the illocutionary potential. While most non-falling and falling terminals in connected discourse can ultimately be related to the difference between “openness” and “finality”, respectively, this intonational contrast is shown to have a seemingly quite different function in imperatives.
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Kopiez, Reinhard. "Intonation of Harmonic Intervals: Adaptability of Expert Musicians to Equal Temperament and Just Intonation." Music Perception 20, no. 4 (2003): 383–410. http://dx.doi.org/10.1525/mp.2003.20.4.383.

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This study examines the deviation in the intonation of simultaneously sounding tones under the condition of an embedded melody task. Two professional musicians (trumpet players) were chosen as subjects to play the missing upper voice of a four-part audio example, while listening via headphones to the remaining three parts in adaptive five-limit just intonation and equal temperament. The experimental paradigm was that of a controlled varied condition with a 2 (tuning systems) ×× 5 (interval categories) ×× 5 (renditions) ×× 2 (players) factorial design. An analysis of variance showed a nonsignificant difference between the average deviation of harmonic intonation in the two systems used. Mean deviations of 4.9 cents (SD = 6.5 cents) in the equal-temperament condition and of 6.7 cents (SD = 8.1 cents) in the just-intonation condition were found. Thus, we assume that the musicians employed the same intonation for equaltemperament and just-intonation versions (an unconscious "always the same" strategy) and could not successfully adapt their performances to the just-intonation tuning system. Fewer deviations could be observed in the equal-temperament condition. This overall tendency can be interpreted as a "burn in" effect and is probably the consequence of longterm intonation practice with equal-temperament. Finally, a theoretical model of intonation is developed by use of factor analysis. Four factors that determine intonation patterns were revealed: the "major third factor," the "minor third and partials factor," the "instrumental tuning factor," and the "octave-minor seventh factor." To summarize, even in expert musicians, intonation is not determined by abstract tuning systems but is the result of an interaction among compositional features, the acoustics of the particular musical instrument, and deviation patterns in specific intervals.
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Muzzulini, Daniel. "Isaac Newton's Microtonal Approach to Just Intonation." Empirical Musicology Review 15, no. 3-4 (June 28, 2021): 223–48. http://dx.doi.org/10.18061/emr.v15i3-4.7647.

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In 1665 Isaac Newton wrote a notebook in which he collected materials for a musical treatise which was never completed. He investigated ways of approximately representing just intonation scales by dividing the octave into many equally sized intervals. Strictly speaking, equal divisions of the octave are incompatible with just intonation, and just intonation intervals are audibly different from the intervals played on a modern equally tempered modern piano. By increasing the number of parts of an equal division, just intonation can be approximated arbitrarily well. Scales with more than 60 microtonal steps per octave, however, never gained wide acceptance in music theory or practice. Newton divided the octave into 612 equal parts so that he could represent the syntonic chromatic scale very accurately and he studied several equal divisions of the octave with fewer parts. His approximation problem is looked at in three ways: (1) A reconstruction of how he determined the many EDO-representations listed in the notebook is given. (2) Using computer programs Newton's tuning problem is solved "empirically" through calculating and evaluating the related approximations comprehensively. (3) The findings from the computer-assisted analysis are used to develop a more general geometric approach to the approximation problem.
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Kirck, George T. "Computer Realization of Extended Just Intonation Compositions." Computer Music Journal 11, no. 1 (1987): 69. http://dx.doi.org/10.2307/3680179.

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Haluška, Ján. "Comma 32 805/32 768." International Journal of Uncertainty, Fuzziness and Knowledge-Based Systems 06, no. 03 (June 1998): 295–305. http://dx.doi.org/10.1142/s0218488598000252.

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We find a fifth approximation of the Just Intonation which generalizes Equal Temperament. The intervals causing a dilemma are the second and the minor seventh and the tritone because they are unambiguous in Just Intonation (the relative frequencies 10/9, 9/8, 8/7 and 7/4, 16/9, 18/10 and 45/32, 64/45, respectively). If we do not consider the second and seventh with the relative frequencies 8/7 and 7/4, respectively, all the music intervals in this approximation either coincide with he Just Intonation interval values (the octave, fifth, fourth, second (9/8) and the minor seventh (16/9)) or are exactly the one comma distant from the corresponding Just Intonation intervals. This comma is 32 805/32 768 ≈ 1.00112915, which is less than the ratio of frequencies of the perfect and the equal tempered fifths (≈ 1.00112989).
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Loosen, Franz. "Intonation of solo violin performance with reference to equally tempered, Pythagorean, and just intonations." Journal of the Acoustical Society of America 93, no. 1 (January 1993): 525–39. http://dx.doi.org/10.1121/1.405632.

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Mullen, Patrick K. "Pitch drift as a result of just intonation." Journal of the Acoustical Society of America 108, no. 5 (November 2000): 2618. http://dx.doi.org/10.1121/1.4743746.

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Ayers, R. Dean, Peter R. Nordquist, and Justin S. Corn. "Visual feedback for retuning to just intonation intervals." Journal of the Acoustical Society of America 117, no. 4 (April 2005): 2476. http://dx.doi.org/10.1121/1.4787589.

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Malikova, Julia M. "Intonation structure of interrogative sentences." Yugra State University Bulletin 12, no. 1 (April 15, 2016): 101–4. http://dx.doi.org/10.17816/byusu2016121101-104.

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This article seeks to examine the intonation in the concretetion interrogative sentence - s . We consider their main function in pronunciation . And just as expressive and emotionalness affects the intonation in speech.
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Dissertations / Theses on the topic "Just intonation"

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Cuffman, Timothy James. "A practical introduction to just intonation through string quartet playing." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3065.

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Intonation is one of the most important issues facing performers of string quartets. Often, string students learn to play in tune strictly in terms of their own melodic line. To play in tune in a string quartet requires an understanding of the underlying harmony and how intonation can be fluid and flexible in an ensemble. This paper offers students an introduction to harmonic intonation and provides exercises to put this knowledge into practice. The text begins with instruction and exercises related to perfect intervals, which form the basis for intonation. Next, consonant intervals are discussed along with exercises for practice and ear training. Chords are constructed and practiced upon the basis of this interval practice. Student quartets are then asked to play excerpts from the repertoire presented as harmonic reductions and as originally written in order to connect the theoretical knowledge to the string quartet repertoire. Finally, chorales by J.S. Bach arranged for string quartet are provided for continuing practice of intonation in tonal harmony. It is not the attempt of this project to teach music theory or present a comprehensive study of the many issues and challenges related to intonation in string quartet playing. The aim of this essay is to provide students with a solid foundation and practical application of basic principles of playing in tune in a string quartet.
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Sonnabaum, Mark. "Modern Api Design and Physical Computing Techniques in Just Intonation Performance Practice." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271901/.

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approached previously by both Harry Partch and Ben Johnston, and proposes the decoupling of interface and sound production as a way forward. The design and implementation of a software instrument and a hardware prototype are described, both using a simple API for variable tuning instruments. The hardware prototype uses physical computing techniques to control the tuning of a string with a servo motor, while the software instrument exists entirely in a web browser. Finally, potential algorithms for clients of the API are presented, and the effectiveness of the hardware prototype is evaluated by measuring its pitch accuracy.
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Figg, Graham Elliot. "Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6113.

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Thesis (M.M.)--University of North Texas, 2008.
First work for harpsichord; 2nd work for baroque cello and harpsichord continuo; 3rd work for tenor and baroque ensemble (trumpet, cello, timpani, organ and harpsichord). System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).
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Scott, Elizabeth Renee. "Fine tuning choral intonation: The development, implementation and evaluation of a pedagogical method for just intonation in a cappella choral singing." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26817.

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Choral singers have a natural tendency to tune to each other in just intonation. However, choirs are notorious for their pitch drift and poor intonation, particularly in a cappella choral repertoire. It is common practice for choral directors to use a piano in rehearsal to provide the singers with starting pitches, to aid in repertoire learning and to assist with tuning chords. However, this dependency on the equal-tempered piano, hinders ensemble listening and chorister self-reliance and can lead to out of tune singing in a cappella repertoire. The aim of this study is to develop, implement and evaluate a pedagogical method to facilitate just intonation in choral singing. Choristers trialled a series of warm-up exercises using pure intervals and learned a cappella repertoire using annotated scores designed for this study. To refine tuning, a just intonation keyboard was used to provide a pitch model. Throughout the rehearsal process choristers completed questionnaires and a sub-set of choristers participated in interviews. Choristers reported an increase in understanding and confidence in tuning in just intonation and were cognisant of an improvement to the sound of the choir in blend and intonation. Removing the piano encouraged the choristers to become more musically independent and enabled them to sing the a cappella repertoire in just intonation successfully. Choirs can aspire to singing in just intonation and respond well to innovations in choral pedagogy. This training program enhanced singers’ natural tendency to tune in just intonation and increased choristers’ musical and aural skills. Choral directors should be confident in choirs’ ability to adapt to just intonation and employ targeted warm-up exercises, annotated scores and where possible, a just intonation keyboard, to promote independence from the piano.
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Bromander, Vilhelm. "Solokontrabas : hur akustik, intonation och perception inspirerat till ny musik." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2380.

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Acoustics, intonation and perception are fields that musicians deal with every day. Even so, they are rarely taught extensively in musical education. In my artistic project I investigated how new knowledge in these fields could work as a musical resource and inspire to new solo music for double bass.  My method has been to compose studies, to make use of this new knowledge in a musical setting. In the etudes I have isolated small areas such as; beating, multiphonics, overpressure, just intonation intervals, the pitch-rhythm continuum, difference tones and microtonal modulation. This work has changed my view of the concept tone, interval and consonance/dissonance. Working this way has triggered a lot of inspiration and productivity for new unexpected music. This text could be useful for double bass or string players, composers for double bass, musicians that want inspiration in solo playing or incorporate Just Intonation in their musical language.

Ten Variations of D

Oaktree

Intoning

Examenskonserten

Vilhelm Bromander kontrabas & komposition

Two Seconds 

Vilhelm Bromander - kontrabas & komposition, Benedikt Bindewald - viola

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van, Duuren Alexander. "The Duality of Settings: How the Acoustics of Different Audition Environments Necessitate a Two-Fold Preparation of Audition Excerpts." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/332739.

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It is widely known that intonation in live professional trombone auditions is one of the most critical factors for which execution is paramount. However, the musician who practices dutifully and precisely with a chromatic tuner, even to the point of technical mastery, will not be prepared sufficiently. He or she will find that in certain environments where heavy reverberation is present, the harmonies inadvertently created are not in tune, even when equal-tempered tuning is executed perfectly, due to the harmonic interactions that those reverberations create. Therefore, it is important that trombonists know how to play auditions excerpts with just intonation, a system that accounts for harmony to deliver results that are truly in tune, for use in the solo round of an audition in such an acoustically "wet" space. This document demonstrates the need for a solution in this regard, the factors involved in a practical application of these concepts in varying scenarios, and presents analyses in just intonation of ten of the most commonly requested excerpts. In addition, guidance and resources are provided for application beyond the excerpts that have been included. It is intended that the trombonist who reads this document will have a better understanding of the basics of just intonation as they apply to solo auditions, so that the quality of his or her audition is improved by leaving at least one less element, intonation, up to chance.
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Toll, Abigail. "Matrices of Vision : Sonic Disruption of a Dataset." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4152.

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Matrices of Vision is a sonic deconstruction of a higher education dataset compiled by the influential Swedish higher education authority Universitetskanslersämbetet (UKÄ). The title Matrices of Vision and project theme is inspired by Indigenous cyberfeminist, scholar and artist Tiara Roxanne’s work into data colonialism. The method explores how practical applications of sound and theory can be used to meditate on political struggles and envision emancipatory modes of creation that hold space through a music-making practice. The artistic approach uses just intonation as a system, or grid of fixed points, which it refuses. The pitch strategy diverges from this approach by way of its political motivations: it disobeys just intonation’s rigid structure through practice and breaks with its order as a way to explore its experiential qualities. The approach seeks to engage beyond the structures designed to regulate behaviors and ways of perceiving and rather hold space for a multiplicity of viewpoints which are explored through cacophony, emotion and deep listening techniques.
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Palmblad, Simon. "A = 432: A superior tuning or just a different intonation? How tuning standards affects emotional response, timbre and sound quality in music." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15414.

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The purpose of this study was to explore the ways tuning to A = 432 Hz affects emotional response, timbre, sound quality, character and tone compared to the standard tuning of A = 440 Hz, and whether or not it is humanly possible to discern a difference between these two. This was all done in an effort to evaluate claims that A = 432 Hz is superior to standard tuning in regards the previously mentioned factors. For this to be done, the history and development of tuning standards as well as intonation systems, presented alongside theories on the basic physics of sound, the effect of spectral manipulation on timbre and sound, and finally memory structures for remembering musical pitches. As a musician and composer, exploring new ways of creating emotion and controlling the effects of a composition, and dispelling potential misinformation is always a worthwhile pursuit. The study was performed by way of surveys where respondents were asked to listen to a composition in two versions, one in A = 440 Hz and the other in A = 432 Hz and then rate the perceived similarity between these two. They were then asked to give their answer regarding preference and associations of character and emotional response to each version. Results show that the claims of the A = 432 Hz proponents might not be as simple as portrayed, but rather a more complex series of relationships. There is support for the idea that the two tunings are unique enough for the average human to discern a difference between the two, and that some type of unique character is contained in each tuning.
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Leidenius, Dennis. "Adaptiv stämning : En bedömning av acceptabilitet och tonkvalitetsuppfattning." Thesis, Högskolan Dalarna, Musik med Musikvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5467.

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This thesis presents an adaptive tuning system that can be described as a dynamic Just Intonation tuning system, being compatible with equally tempered instruments. The tuning system is called Hermode Tuning (HMT) and the tuning used as comparison for evaluation is the standardized western tuning, the equal tempered tuning. This study investigates preferences for these two musical tuning systems, depending on whether the tunings are presented on a piano or with woodwind instruments. A listening test was done with students at the Falun Conservatory of Music, including both a vertical listening (intervalls) and a horizontal listening (cadenses and musical compositions) of Hermode tuned musical material. Overall the results showed no significant preferences for either tuning system irrespectively of what instrument it was presented with. The clearest results was that of a misjudged just intonated perfect third on the piano and a preference for an adaptively tuned piano presented in a simple harmonic structure, with a parameter setting of HMT 70%. Materials for comparison was partly taken from Hermode´s own website, but overall the attitude towards these sequenses (using a likert scale of one to five) showed a low expected value. This shows the complexity of the topic and no general conclusions regarding the choice of intonation or tuning system could be done for the presented material.
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Burt, Warren. "Algorithms, microtonality, performance eleven musical compositions /." Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080131.162859/index.html.

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Thesis (Ph.D.)--University of Wollongong, 2007.
Typescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.
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Books on the topic "Just intonation"

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1001 Mikrotöne: 1001 Microtones. Neumünster: von Bockel Verlag, 2015.

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Johnston, Ben. Progression: For solo string bass. Baltimore, MD: Smith Publications, 1996.

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Stüber, Jutta. Anleitung zum Quartettspiel in reiner Stimmung. Bonn: Orpheus, 1994.

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Johnston, Ben. Pursuit: Bassoon and tuba : 1992. [Baltimore]: Smith Publications, 1996.

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Partch, Harry. Two studies on ancient scales: 1946/1994. Baltimore, MD: Smith Publications, 1997.

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Partch, Harry. Barstow: Eight hitchhiker inscriptions from a highway railing at Barstow, California. Baltimore, MD: Smith Publications, 1996.

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Partch, Harry. Barstow: Eight hitchhiker inscriptions from a highway railing at Barstow, California. Baltimore, MD: Smith Publications, 1996.

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Inada, Lawson Fusao. Just intonations: Poetry. Ashland, Or: Graven Images Gallery Press, 1996.

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Cobbing, Bob. In Just Intonation. Writers' Forum, 1997.

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Just Intonation and the Combination of Harmonic Diatonic Melodic Groups. Springer, 2012.

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Book chapters on the topic "Just intonation"

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Hiebert, Erwin. "Just Intonation and the Harmonium." In Archimedes, 59–77. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-06602-8_8.

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Hiebert, Erwin. "Just Intonation and the 12-tone System (1949)." In Archimedes, 235–40. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-06602-8_24.

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Nuño, Luis. "The Envelopes of Consonant Intervals and Chords in Just Intonation and Equal Temperament." In Mathematics and Computation in Music, 297–308. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21392-3_24.

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Gann, Kyle. "The American Just Intonation Tradition." In The Oxford Handbook of Spectral Music, C5.P1—C5.N25. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190633547.013.5.

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Abstract The practice of just intonation began in America in 1928 when a young Harry Partch - inspired by the writings of Hermann von Helmholtz and Henry Cowell - burned all of his previous compositions in a pot-bellied stove in New Orleans, and began work on a new system of music. Over the next four decades Partch built his own orchestra capable of playing 43 tones to the octave. Others would follow, if less radically, Partch’s example. Partch’s apprentice Ben Johnston wrote ten string quartets exploring a wide world of tuning. Lou Harrison adopted microtonality through writing for Indonesian gamelan; Terry Riley and La Monte Young tuned pianos to just intervals. A younger generation includes Larry Polansky, Michael Harrison, David Doty, and myself. Unlike the European spectralists, the Americans sought not to imitate some natural paradigm, but to expand the materials of music and to achieve a more beautiful sonic resonance.
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"Chapter 17.Just Ancient Loops The Loops Of Life In Intonation." In The Films of Bill Morrison, 253–64. Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048529094-019.

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Schneider, John. "Ben Johnston (1926–2019)." In Interviews with American Composers, 167–84. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.003.0011.

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Schneider explains “subversive” features of Johnston’s work, with just intonation as “the emancipation of the consonance.” Johnston begins with his interest in tunings, his apprenticeship with Harry Partch, his first microtonal piece, and precompositional structuring. He discusses musical perception (Langer, Stockhausen), his work in overtones, computer and tape music, indeterminacy, working with performers, associations with dance and jazz, and the difficulty of his music. He describes a song cycle then in progress and its system, its resemblance to Knocking Piece (1962), use of computer program and metric modulation. His influences include Carter and Stockhausen, Partch and Cage. Earlier influences include Milhaud, Bartók, Hindemith, and Stravinsky. Childs and Johnston discuss their contemporaries, commissions, universities, the usefulness of consonance and dissonance and lack of progression in twelve-tone works.
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Bennett, Peggy D. "Two-word cues." In Teaching with Vitality. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190673987.003.0053.

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In classrooms, many of our words are extraneous. Haven’t we all had the experience of listening to someone use so many words to explain that we lose interest and discipline to listen? Brevity can be powerful. Two- word cues can help us be con­cise, direct, and specific: “Voices ready.” “Eyes here.” “Sitting tall.” “Lips closed.” “Hands quiet.” “Ears ready.” “Breath energy.” “No sound.” “Pencils down.” “Not now.” No matter the age, these kinds of cues are clear and brief. Even if repetition of the two- word directive is needed, the brev­ity has power. When students are accustomed to hearing brief instructions, a one- word direction can work just as well: “Ears . . .” “Eyes . . .” Hands . . .” “Tall . . .” “Breathe . . .” With economy of language comes several benefits. Fewer words mean (1) more focus, less distraction while listening for the key directions, (2) more rest for our voices during a busy teach­ing day, (3) more moments of attentive silence during lessons, and (4) more simplicity for those who struggle with language processing. Two- word cues can be assertive in order to get students’ attention. Yet our intonation and inflection need not be com­manding or scolding. Cues are often more effective when they are not. Spoken with the intonation of a reminder, a simple statement, or a cordial request, two- word cues can give the message of courteous elicitation. The power of brevity is a simple yet pro­found idea. Try it. Notice effects. Good luck.
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Dixon, R. M. W. "Questions." In A New Grammar of Dyirbal, 119–42. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192859907.003.0004.

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Abstract The Jalnguy (‘mother-in-law’) avoidance style has different form for each lexical unit but grammatical affixes and words are the same. This principle shows that interrogative content words fall into two classes: (a) lexical interrogatives which are different in Jalnguy; these include ‘what’, ‘how many’, and ‘when’, interrogative verbs ‘do what’ and ‘do how’ and (b) grammatical interrogatives which are the same in Jalnguy: ‘who’ and ‘where’. There is detailed discussion and exemplification for each interrogative content word. Of especial note are the intransitive and transitive question verbs ‘do what’ and ‘do how’; these show similar structure and faction to the pair of demonstrative verbs ‘do like this’ and are discussed in conjunction with them. Polar questions may be marked by a second position enclitic =ma, or just by intonation. The chapter closes with speculation about past diachronic changes.
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Cyna, Allan M., and Marion I. Andrew. "Structures." In Handbook of Communication in Anaesthesia & Critical Care. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780199577286.003.0008.

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Anaesthetic culture tends to view patients as physiological specimens to which pharmacological and technical procedures are applied and utilized to optimize various measurable parameters. However, this aspect is only one small part of a patient’s anaesthetic care. The medical model to which many anaesthetists still cling is very much a paternalistic one. Although terms such as ‘patient autonomy’ and ‘choice’ are frequently used, achieving these laudable aims in clinical practice remains elusive. Promoting patient autonomy and fostering a therapeutic relationship are areas of practice that have traditionally not been of direct concern to anaesthetists. The communication skills required to achieve this are centred on listening to what patients are really saying, and accepting the patients’ alternative, but sometimes radically different, view of the world. In addition, anaesthetists can use their understanding of this alternative view to communicate in a way that is likely to engender cooperation and trust. Language affects our patients, our colleagues and our own perceptions. This has profound implications in the practice of anaesthesia. Dissecting the anatomy of communication begins with a message between two or more people. This message can take many forms—for example, as a request for assistance or information, a command, advice, clarification, addressing a concern or the provision of reassurance. The message, superficially, is contained only in words. However, the meaning of the communication carried in the message is invariably far more complex. Spoken words are inevitably accompanied by pitch, volume and intonation, a facial expression and body posture. For example, take the six words ‘He anaesthetized that patient last Tuesday’. Box 2.1 shows six different meanings of this sentence. Each one is dependent on just one change in emphasis on how the words are said. The example demonstrates that with just one small change of emphasis in one word the entire meaning of the phrase can change. One can begin to imagine how many hundreds of pieces of information—probably thousands—are being passed on implicitly during any particular interpersonal interaction or communication. It is, of course, impossible to dissect every last nuance, but we can begin to understand some aspects of language and non-verbal cues in a way that will facilitate the accuracy of our communications.
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10

Bošković, Željko. "On the syntax and prosody of Verb Second and Clitic Second." In Rethinking Verb Second, 503–35. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198844303.003.0021.

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This chapter argues that V2 and clitic second should not be unified structurally. Second-position clitics do not all occur in a fixed position high in the clause (they can, in fact, occur rather low in the structure), differing from the verb in V2 in this respect, and second-position clitic systems are incompatible with the presence of definite articles in the language, in contrast to V2. Clitic second and V2 clauses also differ with respect to their mobility, the latter being immobile. Clitic second and V2 are, however, shown to share important prosodic properties, which is taken to indicate that the two should be unified at least to some extent prosodically (with clitic second, the second position is in fact defined prosodically: clitics are second within their intonational phrase). Factoring out the prosodic properties of V2 is also shown to simplify the syntax of V2. From this perspective, the chapter provides accounts of a number of properties of V2, including the root/embedded clause asymmetry regarding the productivity of V2, the non-pickiness of the V2 requirement (where just about anything can satisfy it), and the role of the freedom of word order in the historical development of syntactic V2, where all these are ultimately traced to the presence of a prosodic requirement. The chapter also provides a labelling-based account of the immobility of V2 clauses.
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Conference papers on the topic "Just intonation"

1

"APPROXIMATION OF 5-LIMIT JUST INTONATION - Computer MIDI Modeling in Negative Systems of Equal Divisions of the Octave." In International Conference on Security and Cryptography. SciTePress - Science and and Technology Publications, 2008. http://dx.doi.org/10.5220/0001932001810184.

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