Dissertations / Theses: 'Language, Linguistics|Music'

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Youngs, Marisa B. "THE LANGUAGE OF MUSIC: LINGUISTICS IN TRUMPET PEDAGOGY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/115.

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For decades, many brass teachers have relied heavily upon speech as a means of conveying pedagogical concepts. Additionally, a significant number of teachers in the brass community continue to use speech sounds to teach specific kinesthetic responses (i.e. using specific vowels for tone production, particular consonants for articulation, and variations of vowels for different pitch registers). These teaching concepts have been perpetuated over time, though many intricate aspects of human anatomy were yet to be understood at the inception of these methods, including the physiological processes used during speech. As technology has evolved, researchers in the field of linguistics have made significant discoveries regarding the production and perception of speech. As a result of these innovations, researchers now understand more about individual languages than ever before. This document aims to critique popular beliefs regarding speech directives often utilized in trumpet pedagogy, such as guiding a student by saying “tah,” “too,” “tee,” etc. to produce a desired sound concept. A significant portion of this document also outlines an ultrasound experiment conducted by the author in the Phonetics Laboratory at the University of Kentucky, in which exercises were designed to determine if speech vowels are in fact used during trumpet playing. During this study, subjects wore a lightweight headset with an ultrasound probe placed under the chin. The ultrasound probe allowed the researcher a midsaggital (side) view of the subject’s oral cavity, displaying vowel placements and articulatory phenomena. While using the ultrasound imaging technology, subjects played a short selection of musical exercises on B-flat trumpet and then read aloud a pre-selected list of English words, designed to display multiple combinations of vowel and consonant pairings. Both the trumpet exercises and reading of the word list were audio recorded and simultaneously paired with the corresponding ultrasound video data. After playing the selected exercises, subjects completed a brief written questionnaire of personal language history to ascertain possible influences upon dialect. The ultrasound videos were then analyzed with the audio recordings to map each individual’s tongue placements during speech as compared to the placements utilized during trumpet playing. The author concluded that a majority of participants did not use the specific placements of speech vowels while playing the trumpet, although some participant data displayed a slightly stronger correlation than others. While many conclusions could be drawn from this research study, the corresponding data is intended for a purely observational understanding of the influence of linguistics upon trumpet performance and pedagogy. This document is presented in two parts: Part I contains introductory research material, as well as the process, analysis, and conclusions from the experiment outlined above. Part II contains recital programs and corresponding program notes in fulfillment of the degree of Doctor of Musical Arts in Trumpet Performance, as well as a personal vita.

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White, Christopher Wm. "Some Statistical Properties of Tonality, 1650-1900." Thesis, Yale University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3578472.

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This dissertation investigates the statistical properties present within corpora of common practice music, involving a data set of more than 8,000 works spanning from 1650 to 1900, and focusing specifically on the properties of the chord progressions contained therein.

In the first chapter, methodologies concerning corpus analysis are presented and contrasted with text-based methodologies. It is argued that corpus analyses not only can show large-scale trends within data, but can empirically test and formalize traditional or inherited music theories, while also modeling corpora as a collection of discursive and communicative materials. Concerning the idea of corpus analysis as an analysis of discourse, literature concerning musical communication and learning is reviewed, and connections between corpus analysis and statistical learning are explored. After making this connection, we explore several problems with models of musical communication (e.g., music's composers and listeners likely use different cognitive models for their respective production and interpretation) and several implications of connecting corpora to cognitive models (e.g., a model's dependency on a particular historical situation).

Chapter 2 provides an overview of literature concerning computational musical analysis. The divide between top-down systems and bottom-up systems is discussed, and examples of each are reviewed. The chapter ends with an examination of more recent applications of information theory in music analysis.

Chapter 3 considers various ways corpora can be grouped as well as the implications those grouping techniques have on notions of musical style. It is hypothesized that the evolution of musical style can be modeled through the interaction of corpus statistics, chronological eras, and geographic contexts. This idea is tested by quantifying the probabilities of various composers' chord progressions, and cluster analyses are performed on these data. Various ways to divide and group corpora are considered, modeled, and tested.

In the fourth chapter, this dissertation investigates notions of harmonic vocabulary and syntax, hypothesizing that music involves syntactic regularity in much the same way as occurs in spoken languages. This investigation first probes this hypothesis through a corpus analysis of the Bach chorales, identifying potential syntactic/functional categories using a Hidden Markov Model. The analysis produces a three-function model as well as models with higher numbers of functions. In the end, the data suggest that music does indeed involve regularities, while also arguing for a definition of chord function that adds subtlety to models used by traditional music theory. A number of implications are considered, including the interaction of chord frequency and chord function, and the preeminence of triads in the resulting syntactic models.

Chapter 5 considers a particularly difficult problem of corpus analysis as it relates to musical vocabulary and syntax: the variegated and complex musical surface. One potential algorithm for vocabulary reduction is presented. This algorithm attempts to change each chord within an n-grams to its subset or superset that maximizes the probability of that trigram occurring. When a corpus of common-practice music is processed using this algorithm, a standard tertian chord vocabulary results, along with a bigram chord syntax that adheres to our intuitions concerning standard chord function.

In the sixth chapter, this study probes the notion of musical key as it concerns communication, suggesting that if musical practice is constrained by its point in history and progressions of chords exhibit syntactic regularities, then one should be able to build a key-finding model that learns to identify key by observing some historically situated corpus. Such a model is presented, and is trained on the music of a variety of different historical periods. The model then analyzes two famous moments of musical ambiguity: the openings of Beethoven's Eroica and Wagner's prelude to Tristan und Isolde. The results confirm that different corpus-trained models produce subtly different behavior.

The dissertation ends by considering several general and summarizing issues, for instance the notion that there are many historically-situated tonal models within Western music history, and that the difference between listening and compositional models likely accounts for the gap between the complex statistics of the tonal tradition and traditional concepts in music theory.

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Casaregola, Laura. "How Our Music Tastes Relate to Language Attitudes with Standard and Non-standard Varieties of English." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1044.

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Sociolinguistics studies on language perception have shown that listeners form different attitudes toward speakers based on the speakers’ language varieties (Lukes and Wiley 1996, Lippi-Green 2012, Thompson, Craig, and Washington 2004). Just from hearing a voice, listeners form opinions, and these opinions are often informed by societal archetypes, as well as societal stereotypes. For example, Standard American English is generally perceived with more prestige and respect than non-standard varieties. Unfavorable perceptions of non-standard varieties can, and in many documented cases does, lead to inequitable and/or discriminatory situations (Baugh 2003). Non-standard and standard varieties are found in language use in music. The emergence of the Internet and music playing platforms, as well as more diverse musicians getting mainstream radio play and pay, leads to non-standard varieties reaching new listeners in a new format. In this thesis, I survey the types of music to which people listen, and their perceptions to speakers of Standard American English, Southern American English, and African American English to investigate how the music people listen to connects to their language attitudes. The results show that overall, listeners of any genre have more favorable attitudes toward Standard American English; and, that listeners of rap and/or hip-hop have more favorable attitudes than other groups of listeners toward the non-standard varieties.

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Yip, Chi-lap. "Discovering patterns in databases the cases for language, music, and unstructured data /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2240112X.

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Khezri, Mohammadreza. "MUSIC AND VOCABULARY LEARNING : a pilot study on probable pedagogical effects of music on the learning of new vocabularies of a foreign language." Thesis, Linköpings universitet, Avdelningen för språk och kultur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-71722.

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Learning and memorizing vocabularies of a new language is regarded as an important factor ingaining mastery over a new language while it is a tedious and challenging task. Learners feel reluctant to learn new words by heart and, in most cases, they fail to do so. The aim of this studyis to propose a pleasurable teaching methodology by using music as a variable to enhance and tofacilitate the learning process and to bring joy to the language learning environment.

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Wang, Cai. "The role of music in language learning processes in a Mandarin immersion preschool." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557358.

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The current study examined the role of music in Mandarin vocabulary learning in a Mandarin immersion preschool setting. The goal was to find out how children learn Mandarin with and without music. Using a pre-test/post-test design, I first identified 5 Mandarin words that most children did not know, and then divided children into two groups: the experimental group were taught the 5 words using pictures and song, and the control group learned the same words by pictures and the same song with the melody removed. In the post-test, I asked children of each group "Which one is the XX" in Mandarin and each child pointed to the picture of what they thought was XX. My results show that both groups learned new words; however, children in the non-music group learned more words than children in the music group. These results demonstrate learning from a short-term intervention, but also raise questions about the role of the language's tonality in the effectiveness of using music for word learning.

Keywords: immersion school, music, vocabulary learning, Mandarin

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Kane, James Gray. "A Musicology for Literary Language." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/48.

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This study analyzed the reader's relationship to the sounds embedded in a written text for the purpose of identifying those sounds' contribution to the reader's interpretation of that text. To achieve this objective, this study negotiated Heideggerian phenomenology, Freudian and Lacanian psychoanalysis, linguistics, and musicology into a reader response theory, which was then applied to Edgar Allen Poe's "The Raven." This study argues that the orchestration of sounds in "The Raven" forces its reader into a regression, which the reader then represses, only to carry the resulting sound-image // away from the poem as a psychic scar.

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葉立志 and Chi-lap Yip. "Discovering patterns in databases: the cases for language, music, and unstructured data." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31242649.

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Lebo, Cynthyny Ann. "Musical linguistics: How music and artistic creativity when delivered as a linguistic practice, help students master academic skills in English language arts." CSUSB ScholarWorks, 2012. https://scholarworks.lib.csusb.edu/etd-project/3389.

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This Masters project consists of two elements: 1) an integrated after-school program to improve student English language reading and academic outcomes for third graders' vocabulary development by incorporating music, artistic creativity and linguistics; 2) a pilot sample curriculum that demonstrates the approach for building student comprehension through musical theater and Science, Technology, Engineering, and Mathematics (STEM) content experiences. Called "Water Buddy", this is an after-school program uses singing, dancing, writing, and play to build reading and vocabulary skills. The goal is to improve learner academic outcomes by mastering the elemental building blocks of words, letters, symbols by making memorable the sound units, idioms, print conventions, and concepts that they were previously lacking.

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Cowal, Janet Tom. "Modeling Music with Grammars: Some Examples from Balinese Kotekan." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/2933.

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What is the relationship of music and language? Analogies and comparisons of music and language are plentiful in various types of literature. For researchers in the cognitive sciences, the importance of organization, patterning, and structuring of sounds is a common theme in analyzing both language and music. With the success of generative grammars for languages, a number of researchers have used similar kinds of grammars to describe or model particular aspects of music. In addition, researchers are interested in possible universals in musical grammars. However, while grammars of non-Western musics have been written, most of the work has been based on Western tonal systems. The purpose of this research is to analyze, in an information processing, linguistic framework, a non-Western musical system for which there is currently no formal grammar in the literature, and to describe an aspect of it in the form of a grammar. Kotekan, the system of interlocking parts in Balinese game/an music, is examined in this study. This study is based on library research, scores, tapes, and communication with experts in Balinese music. A number of previously written grammars for musical systems are examined, as well as literature concerning various types of formal grammars. Balinese kotekan data is collected, in the form of literature, scores, and tapes. Portions of the data are described in the form of a grammar. The rules are then tested on new data, that is, portions of other Balinese pieces. The natures of and the relationship between music and language can be examined more closely through the use of an information processing, linguistic framework. Grammars are a precise and formal way of describing structure and regularities in linguistic and musical systems, and of describing aspects of competence. Linguistic and musical grammars share some features and differ in others. The grammar for Balinese kotekan presented in this study exhibits features that are similar to other musical grammars. The system can be described as a hierarchy of constraints from global tendencies to specific rules for various types of kotekan. In addition, there are deep and surface structures, variation related to structure, ranked or preference rules, spatio-motor considerations, and the need for context-sensitive rules. The structure of po/os and sangsih (the interlocking parts of kotekan) as individual lines is described by context-free phrase structure rules. The relationship between pol os and sangsih is described by transformations. The grammar presented is a starting point for a complete grammar of Balinese kotekan.

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Novella, Savelyeva Elena. "Structural and Functional Analysis of Lexical Bundles in Music Research Articles : A Corpus-Based Approach." Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37487.

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Applied linguistics has lately been seen in studies of formulaicity of language operating through recurrent word combinations. The present study deals with one type of word combinations, namely lexical bundles (LBs), which are defined as a sequence of three or more words that frequently co-occur in a particular register (Biber et al., 1999). The present study is a corpus-based analysis of four-word lexical bundles extracted from Music research articles (RAs). The Corpus of Music Research Articles (CMRA) of one million words was created in order to perform structural classification of the retrieved lexical bundles and an analysis of their functions. The CMRA includes 110 articles collected from international music journals from various music subdisciplines. In order to find which lexical bundles were characteristic of music research specifically, the findings were compared to previous research based on other academic disciplines. The list of 218 lexical bundles was compared to the one of three different subject areas (Jalilifar et al., 2016) with the purpose of identification of discipline-specific LBs (n=102) which included 20 topic-specific bundles; and general lexical bundles (n=116) which included 56 core bundles shared among Music and three subject areas (Art and Humanities, Sciences and Social sciences). Structurally and functionally, the analysis of the extracted lexical bundles demonstrated that native English expert writers predominantly used preposition-based phrases (50%), with respect to structure; and research-oriented bundles (74%), with respect to function. The findings have pedagogical applications and could be used in courses in English for Specific Purposes.

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McLain-Jespersen, Samuel Nickilaus. ""Had sh'er haute gamme, high technology": An Application of the MLF and 4-M Models to French-Arabic Codeswitching in Algerian Hip Hop." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1631.

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The historical nature of language contact between French and Arabic in Algeria has created a sociolinguistic situation in which French is permeated throughout Algerian society. The prevalence and use of spoken French in Algeria by native speakers of Spoken Algerian Arabic has been a topic of interest to researchers of codeswitching since the 1970s. Studies have been conducted on codeswitching in Algerian media such as television, radio, and music. The hip hop scene has been active in Algeria since the 1980s. Algerian hip hop lyrics contain a multitude of switches into French. This study explores the structural makeup of the codeswitching between French and Spoken Algerian Arabic in Algerian hip hop. These are pattern that have gone heretofore unstudied. The purpose of this study was to utilize Myers-Scotton's MLF and 4-M models in order to analyze the codeswitching between Spoken Algerian Arabic and French found in the lyrics to the hip hop album Kobay by popular Algerian hip hop artist Lotfi Double Kanon. This study had two goals: the first was to document the structural patterns of the codeswitching found in the data. The second goal was to test Myers-Scotton's models and determine whether the patterns found in the data could be predicted by the MLF and 4-M models. In order to accomplish these goals, the lyrics to the album were transcribed, translated, coded and analyzed at the level of the complementizer phrase. The principles of the MLF and 4-M models were used as central tool for analysis. This study demonstrates that the codeswitching found in the lyrics to Kobay follow the principles of the MLF and 4-M models to a great extent. However, three examples of problematic data are presented. This is followed by a discussion on the social and structural implications of these findings.

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Torres, Erin Helgeson. "Flute Articulation Pedagogy: The Effect of Language-Specific Consonant Pronunciation on a Flutist’s Articulation within the French and English Languages." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338398069.

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Brunner, Jonas. "Rap Music: Differences in Derogatory Word Use Between Mainstream and LGBTQ Artists." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-19539.

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This study aims at investigating differences in derogatory word use between heteronormative rap artists and rap artists identifying with LGBTQ norms. A list of six profane words to be content analysed was constructed. These words were divided into three subcategories: those generally related to men (dick and nigga), women (bitch and pussy), or language in general (fuck and shit). The study examines the frequency of these derogatory words in randomly selected rap music and investigates how these frequencies differ in mainstream and LGBTQ artists' song lyrics. A content analysis of four randomly selected songs each from ten randomly selected mainstream artists and ten randomly selected LGBTQ artists was conducted. Two hypotheses that were derived from the literature (Wilson, 2007; Monk-Turner & Sylvertooth, 2008) were tested. It was expected that (1) general profanity (the use of fuck and shit) would occur most frequently in the lyrics of both mainstream and LGBTQ artists and that (2) derogatory words directed at women would not be as frequent in the lyrics of LGBTQ artists as in mainstream rappers' lyrics. On the contrary, the data show that profanities aimed at women occur more frequently in LGBTQ artists' lyrics. The data also show that general profanity is most common in LGBTQ artists' lyrics but not in the lyrics of mainstream artists, where profanities aimed at men was most frequent. However, there were several factors which affected the validity of the study. The issue of whether profane words are always used in a derogatory way in the songs or not is a big methodological shortcoming of the study in terms of accuracy. Furthermore, the small sample size indicates that one should be cautious about stating generalisations based on tendencies seen in the data.

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Åkerman, Lena, and Beatrice Svensson. "An investigation into the impact of movement and music on learning." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36242.

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This essay investigates what impact different types of movement and music has on overall academic achievement and language learning, both when connected and unconnected to specific curriculum goals and lesson content. The essay looks at both a macro and a micro perspective of the two subject areas to investigate a wider range of possible language learning benefits to be gained from incorporating more movement and music in school, both in and outside of the English as a Second Language classroom. While researchers in these areas agree that academic achievement and language acquisition are benefitted by different types of movement and music, they vary in how and to what degree these benefits show in their results. The essay, therefore, provides a summary of these results and a discussion about what the sum of the results might mean for the Swedish school system.

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Sandén, Johanna. "You know who pop the most shit? : A study of profanity and gender differences in modern pop music." Thesis, Umeå universitet, Institutionen för språkstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-173998.

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Are there any gender differences in how profanity is used in modern pop music in 2019? The purpose of this study was to analyse music lyrics with particular attention paid to frequency and profanity profiles between female and male artists. The corpus used in the investigation contains a total of 34 music lyrics equally divided between the genders and was collected from a Billboard chart called “Hot 100 Songs”. Although this sample was small and may not be representative of all modern pop music lyrics, trends in this data show that the female artists sampled from the Billboard chart actually use profanity more frequently than male artists, which is in contrast to previous research. Furthermore, the result shows that male and female artists have distinctive profiles regarding the types of profanity used. Female artists use the swear word bitch more frequently whereas male artists tent to use nigger with a greater frequency.

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Darko, Kovačević. "Kontrastivna analiza žanra u tekstovima o klasičnoj muzici na engleskom i srpskom jeziku." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. http://www.cris.uns.ac.rs/record.jsf?recordId=101218&source=NDLTD&language=en.

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Cilj ovog rada je bio da se izvrši kontrastivna ana-IZ liza žanra tekstova o klasičnoj muzici na engleskom i srpskom jeziku koja bi omogućila predstavljanje ključnih jezičkih i sadržajnih sličnosti i razlika koje postoje među njima. U sklopu analize, žanr tekstova o klasičnoj muzici je sagledan i predstavljen kroz različite aspekte, a obavljena je i opsežna jezička analiza korpusa tekstova iz žanra, posebno za tekstove na engleskom jeziku i za one na srpskom. Nakon toga, obavljena je kontrastivna analiza, pomoću koje su uporedno sagledani rezultati dobijeni analizom žanra. Rezultati dobijeni u ovom radu mogu naći primjenu u četiri različita područja: u lingvističkim teorijama iz oblasti analize žanra i kontrastivne analize, pri upotrebi i kreiranju tekstova o klasičnoj muzici u okviru diskursne zajednice profesionalnih muzičara, prevođenju tekstova o klasičnoj muzici sa engleskog jezika na srpski i obrnuto i u nastavi engleskog jezika struke na visokoobrazovnim institucijama iz oblasti muzičke umjetnosti.
The aim of the paper was to perform a contrastiveAB genre analysis of texts on classical music in English and Serbian which would enable the presentation of key linguistic similarities and differences which exist between them. Within the analysis, the genre of texts on classical music was observed and presented through different aspects, and a comprehensive linguistic analysis of texts from the genre was performed as well, separately for texts in English and the ones in Serbian. After that, a contrastive analysis was performed, and by means of it the results obtained by the genre analysis were viewed comparatively. The results obtained in this paper introduce the genre of texts on classical music in the literature dedicated to genre analysis and contrastive analysis and can be applied in four different areas: linguistic theories dedicated to genre analysis and contrastive analysis, use and creation of texts on classical music within the discourse community of professional musicians, translation of texts on classical music from English to Serbian and viceversa and ESP teaching at highe

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Hughes, Jennifer G. "Misheard Me Oronyminator: Using Oronyms to Validate The Correctness of Frequency Dictionaries." DigitalCommons@CalPoly, 2013. https://digitalcommons.calpoly.edu/theses/936.

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In the field of speech recognition, an algorithm must learn to tell the difference between "a nice rock" and "a gneiss rock". These identical-sounding phrases are called oronyms. Word frequency dictionaries are often used by speech recognition systems to help resolve phonetic sequences with more than one possible orthographic phrase interpretation, by looking up which oronym of the root phonetic sequence contains the most-common words.Our paper demonstrates a technique used to validate word frequency dictionary values. We chose to use frequency values from the UNISYN dictionary, which tallies each word on a per-occurance basis, using a proprietary text corpus, to calculate word frequency.In the first phase of our user study, we generated oronym strings for the phrase "a nice cold hour", and had over a dozen people make 62 of the most-common oronyms for that phrase. In the second phase, we selected 15 of the phase one recordings, and had 74 different people transcribe each one, for a total of 953 transcriptions overall. If the frequency dictionary values for our test phrases accurately reflected the real-world expectations of actual listeners, we would expect that the most-commonly transcribed phrases in our user study would roughly correspond with our metric for the most likely oronym interpretation of the root phrase. During the course of our study, we found that using per-occurance frequency values, like those found in the UNISYN dictionary, when computing our overall-phrase-frequency metric caused the end result to be thrown off by excessively common words, such as "the", "is", and "a" These super-common words had such high per-occurance tallies that they overpowered any effect that any regular word had on a frequency metric. When we used frequency values from the COCA dictionary, which has word frequency values tallied on a document-count basis instead of a UNISYN-like per-occurance basis, we found that this effect was mitigated. As a result, we do not recommend using the UNISYN dictionary for word frequency purposes.

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Verbeke, Martin R. J. "Rappers and linguistic variation : a study of non-standard language in selected Francophone rap tracks." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22915.

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This thesis examines the use of non-standard language, more specifically non-standard vocabulary (i.e. slang, verlan, colloquialisms, vulgarities, foreign borrowings, and abbreviations), in a corpus of selected francophone rap tracks in order both to quantify its use and to investigate what determines its variation, focusing on the impact of diachronic, diatopic, gender and diaphasic determinants. The methodology relies on a lexicographic analysis to produce quantitative results which are then analysed qualitatively by means of extract analyses and semi-structured interviews with francophone rappers. To answer the research questions, the thesis is divided into five chapters. The first chapter presents the aforementioned methodology and the overall quantitative results from the thesis, while also introducing the notion of variation, which is then tackled in the last four chapters. The second chapter investigates diachronic determinants from two perspectives: different generations of rappers (1990/1991, 2001 and 2011) and one artist throughout his career (Akhenaton in 1991, 2011 and 2011). The third chapter looks at diatopic determinants, analysing the impact of ethnic and spatial origins. Three ethnic origins are compared (rappers of French, Algerian and Senegalese origin), together with three cities (Marseille, Paris and Brussels) and three departments (Hauts-de-Seine, Seine-Saint-Denis and Val-de-Marne). The fourth chapter focuses on gender determinants, with a comparison of male versus female rappers that also takes broader gender performativity into account. Finally, the fifth chapter examines the impact of diaphasic determinants. It analyses three rap genres (jazz/poetic, ego trip and knowledge rap), which then form the foundation for qualitative discussions of the effect of aesthetics, figures of speech, themes and performance. In conclusion, the contribution to knowledge of this work is the observation that the main determinant of high use of non-standard vocabulary is the performance of modern ego trip. The other determinants do not impact non-standard vocabulary to the same extent quantitatively or systematically, due to the complexity of the contextual and fluid identity performances involved with these determinants.

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Mattsson, Lisa. "Music for Travel : A translation study focusing on cultural aspects and the use of adjectives in a text about music and tourism." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12597.

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This study deals with the translation from English into Swedish of a text about music and tourism. The special areas of interest were, on the one hand, how to translate references to cultural phenomena and, on the other hand, adjectives of graphic character. The source text is Music and Tourism: on the Road Again by Chris Gibson and John Connell from which all but a few pages from the introductory chapter were translated. The reader of the text would be a person interested in music, tourism and the history of the niche music tourism. With tourism and music come different cultural references, which can pose a problem for a translator. In turn, the cultural references are often phrased in a graphic language in the text, consisting mainly in specific adjectives that need to be as graphic in the target text. To solve the problem of translating a text like this, theories on translation, such as those presented by Vinay & Darbelnet (1995), Nida (2001), Newmark (1988) and Ingo (2007) were consulted. The procedures by Vinay and Darbelnet in particular were proven to be beneficial while translating. When dealing with the references to cultural aspects, Vinay and Darbelnet‟s procedure borrowing in combination with Ingo‟s addition were the ones most useful to the translation. In terms of translating the adjectives, Vinay and Darbelnet‟s transposition was mostly used.

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Falk, Johanna. "We will rock you : A diachronic corpus-based analysis of linguistic features in rock lyrics." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24249.

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In the present paper, the potential of corpus-linguistic research is put into action. More specifically, a corpus-based demonstration of the general style used in rock lyrics is formed in order to identify the genre-specific features. A corpus consisting of roughly 53 000 words was created for this research. The focus lies on a quantitative and qualitative analysis of the vocabulary as well as of the stylistic markers. The aim of this essay is to investigate the language used in the lyrics of rock music lyrics and the results of the research illustrate in what ways rock lyrics are either more spoken-like or written-like; whether rock lyrics mirror the general word usage in society, and in what ways rock music is comparable to other genres. Using the rock lyrics corpus (ROLC), trends within rock lyrics were retraced diachronically. Results show that rock lyrics, to some extent, follow the general word usage. However, other results also contradict this. Further research in this area is therefore encouraged. Findings show that rock music shares features with other genres, but also that that rock has some unique features. Developments and stagnations were detected in regards to word usage. These features are examined in order to find an explanation.

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Dahlberg-Dodd, Hannah Elizabeth. "Social Meaning in Virtual Space: Sentence-final expressions in the Japanese popular mediascape." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1573476174708106.

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Estling, Hellberg Sanna. "Translating pragmatic markers : or whatever you want to call them." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26149.

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This study analyses the translation of pragmatic markers from English into Swedish. The source text that was translated and used as a basis for the study is an article called “Black Books”, which was published in the British music magazine Prog in January 2013. The study is limited to question tags, general extenders and single-word pragmatic markers. It aims to investigate how these types of pragmatic markers can be translated in a dynamic and natural way, as well as how a careful analysis can facilitate the search for appropriate translation equivalents. Previous research and theories were used to determine the functions of the pragmatic markers in the source text, and the translation choices made on the basis of these findings were supported by corpus searches in the English-Swedish Parallel Corpus and Korp. The study revealed that because of the different ways in which pragmatic functions are expressed in English and Swedish, almost none of the pragmatic markers in the source text could be translated directly into Swedish. Formally equivalent solutions such as tja as a translation of well were generally considered too unnatural. While the study is too small to provide any general guidelines, it shows how a careful analysis may help the translator find more dynamically equivalent and natural solutions in the form of, for instance, other Swedish pragmatic markers, modal particles, adverbs and conjunctions.

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Sinclair, Andrew J. "PREDICTING MUSIC GENRE PREFERENCES BASED ON ONLINE COMMENTS." DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1268.

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Communication Accommodation Theory (CAT) states that individuals adapt to each other’s communicative behaviors. This adaptation is called “convergence.” In this work we explore the convergence of writing styles of users of the online music distribution plat- form SoundCloud.com. In order to evaluate our system we created a corpus of over 38,000 comments retrieved from SoundCloud in April 2014. The corpus represents comments from 8 distinct musical genres: Classical, Electronic, Hip Hop, Jazz, Country, Metal, Folk, and World. Our corpus contains: short comments, frequent misspellings, little sentence struc- ture, hashtags, emoticons, and URLs. We adapt techniques used by researchers analyzing other short web-text corpora in order to deal with these problems. We use a supervised machine learning approach to classify the genre of comments in our corpus. We examine the effects of different feature sets and supervised machine learning algorithms on classification accuracy. In total we ran 180 experiments in which we varied: number of genres, feature set composition, and machine learning algorithm. In experiments with all 8 genres we achieve up to 40% accuracy using either a Naive Bayes classifier or C4.5 based classifier with a feature set consisting of 1262 token unigrams and bigrams. This represents a 3 time improvement over chance levels.

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Lepp, Susanne. "El uso de la música como estrategia didáctica en la enseñanza del pretérito perfecto compuesto en la sala escolar de ELE en Suecia." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-32360.

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Este estudio investiga la enseñanza del pretérito perfecto compuesto en el aula de españolcomo lengua extranjera a nivel escolar en Suecia. El objetivo de esta monografía es ver sipuede ser beneficioso enseñar el pretérito perfecto compuesto mediante canciones en español,que incluyen el pretérito perfecto compuesto en sus versos, como recurso didáctico. Losparticipantes son treinta y cuatro alumnos, divididos en dos grupos, de ELE en el octavo yocho profesores de español. Este estudio se realiza mediante observaciones en clase, dospruebas para los alumnos y una encuesta entre los profesores.Los resultados del estudio muestran que los profesores que participan en el estudio consideranque la mayoría de sus alumnos tienen problemas para aprender el pretérito perfectocompuesto. Los resultados de las pruebas indican que los alumnos que hacen parte del primergrupo de estudio, que tuvieron una enseñanza inductiva con canciones en español,aumentaron su destreza para utilizar el pretérito perfecto compuesto tanto con los verbosregulares como con los irregulares. Los alumnos que hicieron parte del segundo grupo,quienes recibieron una enseñanza deductiva, aumentaron su destreza en usar/aplicar elpretérito perfecto compuesto menos que el primer grupo cuando trata de los verbosirregulares. Sin embargo, estos alumnos aprendieron utilizar el pretérito perfecto compuestocon los verbos regulares mejor que los del primer grupo.Además, nos indigamos si se presentaba una posible diferencia en relación con el interés y lamotivación para aprender entre chicos y chicas dado el tema romántico de las canciones. Losresultados muestran una ligera mayoría en los resultados de las alumnas.
This study investigates the teaching of the past perfect tense in the Swedish classroom ofSpanish as a foreign language. The purpose of this essay is to see if it is profitable to teach thepast perfect tense with songs in Spanish, which include the past perfect tense in the lyrics, asan educational resource. The participants are thirtyfour students, divided into two groups, inthe eight grade who study Spanish as a foreign language, and eight Spanish teachers. Thestudy was made through observations in class, two tests by the students and a survey with theteachers.The results of the study show that the teachers who participated in the study consider that themajority of their students have problems learning the past perfect tense. Furthermore, theresults show that the students who were part of the first group, who received an inductiveeducation including Spanish music, increased their abilities of using the past perfect tenseboth with regular and irregular verbs. The students who were part of the second group andwho learnt/were taught by means of the deductive approach increased their abilities to use thepast perfect tense less than the first group when it came to the irregular verbs. However, theylearnt to use the past perfect tense with regular verbs better than the first group.Furthermore, we also investigated if there were any differences according to the interest andthe motivation to learn between the boys and the girls. The results were slightly higher amongthe girls.

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Miras, Gregory. "Approche plurielle des liens musique-parole pour la didactique de la prononciation du français comme langue étrangère/seconde." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030131/document.

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Cette thèse s’intéresse aux utilisations de la musique instrumentale pour la didactique de la prononciation du français comme langue étrangère/seconde (FLES). Elle s’inscrit dans une perspective plurielle et un cadre théorique émergentiste et socioconstructiviste. La thématique est abordée par trois études (1) psychosociale, (2) psychoacoustique et (3) didactique permettant de questionner à plusieurs niveaux les apports potentiellement développementaux de la musique instrumentale pour la prononciation du français en contexte FLES.Le but de cette thèse est une contribution à la didactique des langues afin d’apporter des réponses empiriques à des pratiques pédagogiques présentes depuis longtemps mais peu questionnées scientifiquement. Elle permet également de prendre du recul sur les récents résultats en neurocognition et notamment leurs applications pour un développement langagier.L’étude 1 psychosociale, par questionnaire, montre que la didactique de la musique peut nous aider à amener les apprenants à se focaliser sur le son plutôt que sur le sens des unités sonores langagières. L’étude 2 psychoacoustique révèle que les musiciens ont de meilleurs temps de réaction que les non- musiciens chez des apprenants du français pour un test AXB d’oppositions fines des phonèmesvocaliques du français. Grâce à l’étude 3, didactique interventionniste et quasi-expérimentale, nous avons montré qu’une association entre notes de piano et aperture suggère une potentialité développementale des phonèmes vocaliques du français mais que cette dernière n’est pas supérieure à d’autres approches plus conventionnelles. Cependant, elle semble être un apport cognitif pour certains apprenants même si cet apport montre une tendance bimodale. Ces trois études permettent de montrer que la musique instrumentale peut trouver sa place dans la « boîte à outils » de l’enseignant
This work deals with the use of instrumental music in the teaching and learning of French as a foreign language. It is part of a pluralistic theoretical framework and an integrated approach of emergentism and social cultural theories. The topic is discussed through three studies: (1) a psychosocial study, (2) a psychoacoustic study and (3) an applied linguistics study – questioning at different levels the potentially developmental intake of instrumental music for French pronunciation as a foreign language.The aim is a contribution to applied linguistics in order to bring empirical data to long-lasting pedagogical practices but also to question recent neurocognitive results in an applied perspective. The first study, which is psychosocial and was led by questionnaires, shows that music learning and teaching can help us to have students focus on sound rather than meaning. The second study, which is psychoacoustic, reveals that, among learners of French, musicians have better reaction times than non-musicians to an AXB discrimination test of close French vowels. The third study, which is quasi- experimental and in intervention, suggests that associating piano notes and vowel aperture doesn’t lead to bigger developmental intake compared to more conventional approaches. However, it seemsto point out to the fact that some learners experience cognitive input even if such impact evokes bimodal tendencies. These three studies prove that instrumental music can be a tool to assist teachers

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Weng, Sheng-Ying Isabella. "Pitch processing and learning ability of the tone language Chinese : A correlational study of music and language." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1650.

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As evidence of intimate music-language relations grow, a certain connection between the use of tone language and the ability of absolute pitch has been found. Genesis of absolute pitch has long been a controversial topic among scientists. While interest of learning the tone language Chinese increases, it is, from a pedagogical perspective, relevant and engaging to specifically study this connection. The purpose of this essay is to study a small group of young beginners in Chinese at close quarters. By implementing a pitch-based hearing test, their pronunciation skills in Chinese were compared with sense of pitch shown in the test. The findings point to complex interactions between several factors, and show for instance a significant importance of musical training and learning motivation.
Samtidigt som vetenskapliga bevis för en intim relation mellan musik och språk växer, har ett visst samband mellan användning av tonspråk och absolut gehör också upptäckts. Uppkomsten av absolut gehör har länge varit ett kontroversiellt forskningsämne. När intresset att lära sig tonspråket kinesiska ökar globalt, är det ur ett pedagogiskt perspektiv motiverat att studera just detta samband. Syftet med föreliggande uppsats är att på nära håll studera en liten grupp elever i nybörjarkinesiska. Genom ett gehörstest, baserat på förmågan att uppfatta tonhöjder, har dessa testresultat jämförts med de tidigare observerade uttalsförmågor hos eleverna. Studien pekar på komplexa interaktioner mellan många faktorer, och visar till exempel musikträning och studiemotivation som avgörande faktorer.
提要：随着越来越多的研究证明音乐与语言之间的密切关系，也有证据显示声调语言的使用与绝对音高感之间有着一定的互动关系。绝对音高感的成因一直是一个科学上有争议的话题，如今，学习声调语言普通话的兴趣已是国际性，从教学的角度来看，这两者之间的互动关系是个值得研究的话题。此研究对一小群中文初学者做了近距离的观察，并对她们进行了音高感的听力测试。通过比较测试数据和她们已表现的中文发音能力及敏感性，本文发现了多种因素之间的复杂关系，比如音乐培训以及学习积极性的关键性。

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Zhu, Winstead Xingran. "Hotspot Detection for Automatic Podcast Trailer Generation." Thesis, Uppsala universitet, Institutionen för lingvistik och filologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444887.

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With podcasts being a fast growing audio-only form of media, an effective way of promoting different podcast shows becomes more and more vital to all the stakeholders concerned, including the podcast creators, the podcast streaming platforms, and the podcast listeners. This thesis investigates the relatively little studied topic of automatic podcast trailer generation, with the purpose of en- hancing the overall visibility and publicity of different podcast contents and gen- erating more user engagement in podcast listening. This thesis takes a hotspot- based approach, by specifically defining the vague concept of “hotspot” and designing different appropriate methods for hotspot detection. Different meth- ods are analyzed and compared, and the best methods are selected. The selected methods are then used to construct an automatic podcast trailer generation sys- tem, which consists of four major components and one schema to coordinate the components. The system can take a random podcast episode audio as input and generate an around 1 minute long trailer for it. This thesis also proposes two human-based podcast trailer evaluation approaches, and the evaluation results show that the proposed system outperforms the baseline with a large margin and achieves promising results in terms of both aesthetics and functionality.

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Carter-Enyi, Aaron. "Contour Levels: An Abstraction of Pitch Space based on African Tone Systems." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461029477.

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Ekanayaka, Tanya Nissani Ilangakkone. "Theorising the practice of language mixing in music : an interdisciplinary (linguistic and musicological) investigation of Sri Lanka's leading genre of contemporary popular song and its community." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5518.

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This thesis represents the first ever study of Sri Lanka’s leading genre of contemporary popular song covering a period of over twelve years, and how its artists and principal audience interpolate ‘global’ and ‘local’ (linguistic and musical) elements in their invention and negotiation of the genre. The central objective is to articulate the collective linguistic identity of the genre’s artists and principal audience. They are shown to constitute a community of over 5.5 million youth and young adults of Sinhala ethnicity, more than a quarter of the country’s population. Notably, this is also the first ever study of macrosocietal linguistic identity in a musical context involving an interdisciplinary linguistic and musical-structure based approach. Underlying the central objective the thesis addresses broader questions about whether our perception of and response to language/language-mixing in music differs from our perception of and response to language mixing (language) in non-musical (i.e. conversational) contexts and if so, how such differences might be explained in terms of linguistic and/or musico-linguistic structure. The genre explored is termed ‘Post 1998 Leading Sri Lankan Popular Song’ (98+LSLPS): 1998 marks the symbolic year in which the first songs of the genre emerged and became hugely popular in Sri Lanka. At present, it includes around 300 songs. A community of practice model (Wenger 1998) is used to describe the three-way relationship between the artists, audience and songs. The song data analysed are in audio format. Musically, the songs are heterogeneous involving blends of styles, ranging from indigenous Sri Lankan folk tunes to hip hop rhythms to western classical melodies. These are delivered through four presentational techniques among which rap and singing are dominant. It is English and Sinhala mixed language lyrics which distinguish the songs as a genre. Not surprisingly, there is evidence that the community regard the songs as ‘mixed’: however, they are also found to regard the songs as simultaneously ‘not-mixed’. The portrait corresponds to the community’s identification of the songs as simultaneously homogeneous Sinhala and Sinhala-Sri Lankan systems on the one hand and heterogeneous multicultural systems on the other. Exploring the salience of this portrait at the level of the songs’ lyric organisation constitutes the major part of the thesis and is a crucial forerunner to articulating the collective linguistic identity of the community, which is based on interpreting the findings. Accordingly, I advance a novel musico-linguistic analytical framework based on the notion of the musical rhythm derived ‘line’ for analysing the songs. The framework is also a response to the fact that the song lyrics are in audio format rather than being assigned a predetermined structure by transcription. The analyses demonstrate that the songs’ lyric structure is entirely congruent with the portrait assigned to the songs by their community. Interpreted in relation to the community’s collective linguistic identity, it is described as representing a form of overarching monolingualism, deriving from active multilingualism in music. Drawing on the relationship between Sinhala ethnicity and the Sinhala language and the fact that the community members are of Sinhala ethnicity, the study concludes by suggesting that this linguistic profile may be indicative of the community’s definition of the ‘Sinhala’ language in this musical domain. Overall, the study establishes that musical structure governs the organisation of language/language mixing in music and that this is reflected in how communities perceive language/language mixing in music.

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Cheippe, Emmanuelle. "La voie musicale pour remédier aux difficultés de prononciation des voyelles de l'allemand dans des textes lus : expérimentation dans une classe bilingue : analyse acoustique." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00781335.

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Dans cette étude, nous analysons dans quelle mesure l'exploitation d'un chant populaire, pourrait aider les élèves francophones dans la lecture de textes en allemand. L'exercice musical peut-il contribuer à faciliter la prononciation des voyelles de la langue allemande et ainsi permettre de remédier aux nombreuses difficultés mentionnées dans la littérature et repérées en classe ? L'expérimentation décrite ici a été menée dans une classe bilingue de Strasbourg. Vingt élèves d'une même classe ont été répartis en deux groupes. Le premier groupe avait pour objectif l'apprentissage de la chanson " La Belle au Bois Dormant " tandis que le deuxième s'est focalisé sur la lecture et la compréhension du même texte, sans usage du chant. Les sujets ont été enregistrés pendant la lecture du texte en amont (test T1) et en aval (test T2) de l'expérimentation. Nous avons également examiné l'impact d'un support multimédia élaboré en 2008. Cet outil est supposé pouvoir constituer une aide à l'apprentissage de la lecture par le biais d'exercices adaptés et d'une version chantée dite " karaoké ". La spécificité des résultats des tests T1 et T2 dans chacun des groupes (éléments musicaux, accents d'intensité, premiers et seconds formants) ainsi que la comparaison de deux séquences incluant /a/ d'une part et /a:/ d'autre part, confortent les hypothèses issues de la psycholinguistique, des neurosciences, de la sociolinguistique et de la pédagogie ainsi que d'expériences antérieures : la musique a effectivement un impact sur la qualité vocalique d'une langue accentuelle comme l'allemand.

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Wood, Ashley Elizabeth. "El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/mcl_theses/6.

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This paper examines the linguistic qualities of reggaeton in order to determine to which extent the music represents the speech of the urban residents of Puerto Rico. The lyrics of this music are analyzed in order to see if they are used only within the context of reggaeton or if they are part of the Puerto Rican lexicon in general. The political context of Puerto Rico with respect to the United States is taken in to consideration with the formation of Anglicisms and the use of English. The paper summarizes the current knowledge of the Puerto Rican lexicon as well as two linguistic studies that focus on reggaeton as well as giving general background information on the genre. In the analysis section, 20 words that are commonly found in reggaeton songs are analyzed using two accredited dictionaries and three “urban dictionaries” in order to determine their meanings, uses and origins.

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Snyder, Sara LeeAnne. "Poetics, Performance, and Translation in Eastern Cherokee Language Revitalization." Thesis, 2016. https://doi.org/10.7916/D82V2GCR.

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This dissertation examines the creation and performance of expressive vocal practices by Eastern Cherokees as they seek to revitalize the Cherokee language in North Carolina in the Eastern part of the United States. The Eastern Band of Cherokee of Indians is facing the impending loss of its heritage language due to a community-wide shift to English. To combat this loss, the community now operates a Cherokee language immersion school, New Kituwah Academy. This dissertation is based on ethnographic and linguistic data collected during the researcher’s five years as the music and art instructor at New Kituwah. Indigenous epistemologies of language and poetics are brought into discourse with methodological and analytical approaches in ethnomusicology and linguistic anthropology. Performative vocal practices are processes through which Eastern Cherokee speakers negotiate what it means to be “modern Kituwah citizens.” Contemporary Cherokee voices emerge from the ambiguities of poetic “language play” in speech and song. “Voice” is both a metaphorical representation of a Cherokee sovereign and an actual materiality produced by embodied, speaking, and singing subjects. The translation of new popular song texts into Cherokee is likewise explored as “working” or “playing” with language. Translation is a poetic process imbedded within broader socio-cultural systems of meaning and perception (ontologies). Translation and vocal play destabilize semantic connections and open up the possibility for alternative interpretations and meanings; they allow for sovereignty to flourish as Cherokees reimagine and reshape themselves and their world.

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Gross, Anna J. ""Rap for abokhokho nelokishi nabantu bonke" : language choice in hop hop music from KwaZulu-Natal : a sociolinguistic approach." Thesis, 2007. http://hdl.handle.net/10413/2327.

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The main focus of hip hop music is on the beats and the lyrics. Hip hop lyrics. performed as 'rap' (fast poetic rhymes) address topics such as self-portrayal, roots, life, location, time and space. From its beginnings, hip hop music in KwaZulu-Natal has been bilingual with artists performing in isiZulu and English. In addition, expressions from isiTsotsi or other forms of youth language are used in performances as well as on records and mixtapes. Therefore, hip hop music from KwaZulu-Natal offers excellent material for the analysis of the relation between language choice and construction of identity amongst urban youth. This treatise investigates this matter, taking the question of ethnicity in post-apartheid South Africa into account. Five artists who rap and perform predominantly in isiZulu provide their lyrics for the sociolinguistic analysis which takes a close look at the content and translatability of each text. Certain topics addressed in hip hop lyrics in isiZulu are languagespecific and seem to be (almost) untranslatable. These topics may be related to cultural concepts and 'common knowledge' which are based in Zulu traditions. Moreover, the analysis of the lyrics shows that isiZulu-speaking hip hop artists from KwaZulu-Natal who rap in their mother tongue merge common hip hop themes with traditional concepts of Zulu culture.
Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2007.

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Li, Na. "Les locuteurs d’une langue tonale sont-ils de meilleurs musiciens? Effet potentiel de la connaissance native d’une langue à tons sur la perception du contraste du pitch." Thèse, 2016. http://hdl.handle.net/1866/18770.

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Ce mémoire consiste à offre un survol des études neuropsychologiques et électrophysiologiques concernant l’interaction possible entre le traitement du langage et la musique. Le but principal est de déterminer les raisons possibles pour lesquelles des locuteurs d’une langue à tons auraient une meilleure capacité dans la perception du contraste du pitch en musique par rapport aux individus qui ont pour langue maternelle une langue à intonation. Dans un premier temps, nous discutons du traitement neuronal de la prosodie et de la musique, tentant de montrer le chevauchement du traitement cérébral des deux domaines. Ensuite, nous présentons des notions d’une langue tonale ainsi que le traitement neuronal des tons lexicaux. Après, nous discutons des effets de transfert de la capacité du traitement du pitch en linguistique et en musique, en nous focalisant sur l’influence de la connaissance native d’une langue tonale sur la perception musicale. Pour ce faire, l’encodage du pitch et la localisation hémisphérique du traitement des tons lexicaux et la musique serons discutés.
This thesis gives an overview of neuropsychological and electrophysiological studies about the possible interaction between the processing of language and music. Our main purpose is to examine the possible reasons for which tone language speakers have a better capacity in perceiving pitch contrast in music than native speakers of an intonational language. First, we discuss the neural processing of prosody and music, attempting to show an overlap between the two domains. Next, we present the concept of a tone langue and the neural processing of lexical tones. Afterwards, we discuss the transfer effects of the processing capacity of pitch in linguistic and music by focusing on the influence of a knowledge of a tone language on the musical perception. To do this, the encoding of pitch and the hemispheric specialization will be discussed.

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Rivard, Julie. "Agrammatisme : effet potentiel d'un entraînement musical sur le traitement syntaxique." Thèse, 2013. http://hdl.handle.net/1866/10690.

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Le présent mémoire vise à unifier les résultats d’études comportementales, neuropsychologiques et électrophysiologiques disponibles quant à la possibilité d’un partage des ressources neuronales dédiées au traitement du langage et de la musique. Pour ce faire, une analyse théorique précise des aspects traités lors de l’intégration structurale et temporelle d’éléments langagiers ou musicaux en processus de traitement en temps réel est essentielle. Le but visé est de se questionner sur l’effet potentiel d’un entraînement musical et linguistique sur les capacités syntaxiques touchées dans l’agrammatisme chez la population aphasique (Broca).
The present thesis aims at the unification of the results suggested by behavioral, neuropsychological and electrophysiological studies on the possible relation between neural correlates dedicated to treatment of language and music. To do this, a theoretical analysis of specific aspects processed in the structural and temporal integration of linguistic or musical elements when being processed on-line is essential. Our goal is to question whether a musical training would benefit the aphasic population (Broca) with agrammatism, especially on processing syntactic structures.

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Bateman, Laura Anne. "Soprano, style and voice quality: acoustic and laryngographic correlates." Thesis, 2003. http://hdl.handle.net/1828/1266.

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There are numerous widely varying vocal styles and voice qualities in Western music. Popular music in the 21st century uses a particular voice quality for female voice that is quite different from the trained classical voice quality. Classical voice quality has been the subject of a vast body of research, whereas research that deals with non-classical voice quality and pedagogy is very limited. In order to learn more about these issues, the author chose to do research using a variety of standard voice quality tests to substantiate the existing literature, and perhaps generate new information. This thesis presents a review of the existing literature on voice quality in various different styles of singing: Classical, Belt, Legit, R&B, Jazz, Country and Pop. In addition, this thesis looks at spectral measurements from a small set of voice samples, elicited from a professional soprano. Laryngographic (LGG) data was generated simultaneously with the audio samples. To limit the data set for the scope of this thesis, singing samples using the vowel [i] are selected_ The analysis techniques used in this thesis are Spectrogram, LPC, FFT, and various LGG ratio measurements. The spectral measurements compared include the relative strength of the first two harmonics, the formant locations, relative energy from harmonic strength near the formants, summed energy in two quadrants (0-3000Hz, 3000-5000Hz), and the inharmonic or aperiodic activity seen in each quality. Data from the LGG is used to calculate the contact quotient (the time the vocal folds are in contact divided by the time for one cycle of the vocal fold vibration), speed quotient (the time between maximum contact of the vocal folds and vocal fold separation divided by the time between first contact and maximum contact) and ascending slope (the slope of the contacting phase of the vocal fold wave). The LGG waveform was also visually assessed. The acoustic and LGG data are compared to an auditory analysis by Dr. John Esling (Professor of Linguistics, UVic) and to the subject's descriptions of the physical configurations involved in producing these qualities. Physiological observations obtained from x-ray fluoroscopy & MRI scans of belt and classical voice qualities are included in Appendix B. The intention of the thesis is to reveal more about the workings of these voice qualities. The thesis also serves as a prototype for a series of 10 vowels and running samples that were elicited at the same time. Perhaps, even though this thesis presents a limited data set, it may be useful to pedagogues who are struggling to understand the complexities of the non-classical female voice, as well as to computer programmers and engineers who are developing voice enhancement devices and biofeedback tools.

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Colton, Glenn David. "The piano music of Jean Coulthard." Thesis, 1996. https://dspace.library.uvic.ca//handle/1828/9809.

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Abstract:

“The Piano Music of Jean Coultthard” provides a musicological assessment of keyboard literature by one of the leading composers in the history of Canadian music. Coulthard's piano works are discussed from aesthetic, historical, and analytical perspectives. Discussion of specific piano works is prefaced by a more general overview of aesthetic principles pertaining to Coulthard's compositional style (including a comparative study between Coulthard's music and the art of Emily Carr) and the question of a Canadian musical identity. The historical focus of the study relates to three main fields of inquiry: the development of Coulthard's distinctive style of piano writing from the early mature works of the 1940s to the more recent compositions of the 1980s and 1990s; the composer's historical position in twentieth-century music; and her lasting influence upon Canadian culture. Analytical issues addressed include Coulthard's innovative reworking of traditional musical forms and the characteristic features of her musical vocabulary and pianistic style. This study will demonstrate Coulthard's vital role in the development of piano music in Canada as well as her overall significance in twentieth-century music.
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Dissertations / Theses on the topic 'Language, Linguistics|Music'

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