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Books on the topic 'Prosody features'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Fox, Anthony. Prosodic features and prosodic structure: The phonology of suprasegmentals. Oxford: Oxford University Press, 2000.

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2

Rao, K. Sreenivasa, V. Ramu Reddy, and Sudhamay Maity. Language Identification Using Spectral and Prosodic Features. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-17163-0.

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3

Rao, K. Sreenivasa, and Shashidhar G. Koolagudi. Robust Emotion Recognition using Spectral and Prosodic Features. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6360-3.

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4

Rao, K. Sreenivasa. Robust Emotion Recognition using Spectral and Prosodic Features. New York, NY: Springer New York, 2013.

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5

Obeng, Samuel Gyasi. Conversational strategies in Akan: Prosodic features and discourse categories. Köln: Köppe, 1999.

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6

Oostendorp, Marc van. Phonological projection: A theory of feature content and prosodic structure. Berlin: Mouton de Gruyter, 2000.

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7

Allen, W. Sidney. Accent and rhythm: Prosodic features of Latin and Greek : a study in theory and reconstruction. Cambridge: Cambridge University Press, 2009.

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8

Zhi, Minje. Studies on prosodic features of Korean: Phonetic properties of quantity in Seoul and tone in Busan. Umea: Department of Phonetics, 1985.

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9

Silva, Viola De. Quantity and quality as universal and specific features of sound systems: Experimental phonetic research on interaction of Russian and Finnish sound systems. Jyväskylä: University of Jyväskylä, 1999.

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10

Geluykens, Ronald. "Questioning intonation": An empirical study into the prosodic feature "rising intonation" and its relevance for the production and recognition of questions. Wilrijk, Belgium: Universiteit Antwerpen, Universitaire Instelling Antwerpen, Departement Germaanse, Afdeling Linguïstiek, 1986.

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11

Downing, Laura J., and Larry M. Hyman. Information Structure in Bantu. Edited by Caroline Féry and Shinichiro Ishihara. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199642670.013.010.

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For some 40 years, the role that information structure (IS) plays in the grammatical structure of the ca. 500 Bantu languages has been the topic of considerable research. In this chapter we review the role of prosody, morphology and syntax in expressing IS in Bantu languages. We show that prosodic prominence does not play an important role; rather syntax and morphology are more important. For example, syntactic constructions like clefts and and immediately after the verb position correlate with focus, while dislocations correlate with topic. Among the morphological properties relevant to IS are the “inherently focused” TAM features (progressive, imperative, negative etc.) and the “conjoint-disjoint” distinction on verbs, as well as well as the presence vs. absence of the Bantu augment on nominals. Finally, we consider a range of tonal effects which at least indirectly correlate with IS (tonal domains, metatony, tone cases).

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12

Eikelboom, Lexi. A Phenomenology of Rhythm. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828839.003.0002.

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This chapter proposes a framework for approaching the theological significance of rhythm through phenomenology, prosody, and the social sciences. In accordance with the general categories of phenomenology established by Merleau-Ponty and the “rhythmanalysis” of Henri Lefebvre, the chapter investigates two experiences of rhythm: approaches to analysing the human encounter with rhythm in the reading of poetry and the role of rhythm in social interactions introduced through commonalities between rhythm in conversation and in jazz performance. These explorations establish two features of rhythm that are of analytical importance for the chapters that follow: (1) the synchronic and the diachronic as two necessary but distinct theoretical perspectives on rhythm, each of which emphasizes different features of rhythm and (2) the importance of interruption for understanding rhythm’s significance.

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13

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Defining classicism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0015.

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The chapter describes the origins of the classical style, arguing that its elaboration involved experimentation rather than strict adherence to rules. It considers the contribution of three major theorists of the period to norms of language and style, exploring why in the end none could impose a single method. The chapter discusses the culture of literary quarrels, often conducted in witty poetic exchanges and staged comedies. Literary quarrels were a process taking place in the 1750s–1810s which helped stabilize conventions of taste and practice. The chapter features a case study that explains the creation of modern verse in Russia, detailing the basic aspects of prosody and the new metrical system.

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14

Rao, K. Sreenivasa, V. Ramu Reddy, and Sudhamay Maity. Language Identification Using Spectral and Prosodic Features. Springer, 2015.

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15

Fox, Anthony. Prosodic Features and Prosodic Structure: The Phonology of Suprasegmentals (Oxford Linguistics). Oxford University Press, USA, 2002.

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16

Malawey, Victoria. A Blaze of Light in Every Word. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190052201.001.0001.

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A Blaze of Light in Every Word presents a conceptual model for analyzing vocal delivery in popular song recordings focused on three overlapping areas of inquiry: pitch, prosody, and quality. The domain of pitch, which refers to listeners’ perceptions of frequency, considers range, tessitura, intonation, and registration. Prosody, the pacing and flow of delivery, comprises phrasing, metric placement, motility, embellishment, and consonantal articulation. Qualitative elements include timbre, phonation, onset, resonance, clarity, paralinguistic effects, and loudness. Intersecting all three domains is the area of technological mediation, which considers how external technologies, such as layering, overdubbing, pitch modification, recording transmission, compression, reverb, spatial placement, delay, and other electronic effects, impact voice in recorded music. Though the book focuses primarily on the sonic and material aspects of vocal delivery, it situates these aspects among broader cultural, philosophical, and anthropological approaches to voice with the goal to better understand the relationship between sonic content and its signification. Drawing upon transcription and spectrographic analysis as the primary means of representation, as well as modes of analysis, this book features in-depth analyses of a wide array of popular song recordings spanning genres from indie rock to hip-hop to death metal, develops analytical tools for understanding how individual dimensions make singing voices both complex and unique, and synthesizes how multiple aspects interact to better understand the multidimensionality of singing voices.

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17

Rao, K. Sreenivasa, and Shashidhar G. Koolagudi. Robust Emotion Recognition using Spectral and Prosodic Features. Springer, 2013.

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18

Rao, K. Sreenivasa, and Shashidhar G. Koolagudi. Robust Emotion Recognition using Spectral and Prosodic Features. Springer, 2013.

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19

Abbott, Helen. Baudelaire in Song. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.001.0001.

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Exploring the work of the major nineteenth-century French poet Charles Baudelaire (1821–67), this book examines how and why Baudelaire’s poetry has inspired so many composers to set it to music in different ways. The author proposes a new model for analysing song, through an ‘assemblage’ approach, which examines the complex relationships formed between common features of poetry and music, including metre/prosody, form/structure, sound properties/repetition, and semantics. The model also factors in the realities of song as a live performance genre, revealing which parameters of song emerge as standard for French text-setting and where composers diverge in their approach. The specific case studies that make up the second half of the book focus on Baudelaire song sets produced by European composers between 1880 and 1930, specifically Maurice Rollinat, Gustave Charpentier, Alexander Gretchaninov, Louis Vierne, and Alban Berg. Using this corpus, the assemblage model is tested to uncover new findings about what happens to Baudelaire’s poetry when it is set to music. Analysing Baudelaire’s poetry within song settings uncovers richer features of the texts that we might otherwise not see or hear. Examining each song setting in close detail confirms that there are no overt resonances between the types of poems selected for musical interpretation, just as there is no single, perfect ‘ideal’ setting of Baudelaire.

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20

Oostendorp, Marc van. Phonological Projection: A Theory of Feature Content and Prosodic Structure. De Gruyter, Inc., 2000.

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21

Sedighi, Anousha, and Pouneh Shabani-Jadidi, eds. The Oxford Handbook of Persian Linguistics. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198736745.001.0001.

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The Oxford Handbook of Persian Linguistics is a comprehensive volume that offers a detailed overview of the field of Persian linguistics, discusses its development, and captures critical accounts of the cutting edge research within the major subfields of Persian linguistics. The handbook also discusses current debates and suggests productive lines of future research. Chapters are authored by internationally renowned leading scholars in the major subfields. The outline of the book is as follows: Chapter 1 is the introduction; Chapter 2 discusses the linguistic change from the Old to the New Persian; Chapter 3 is a discussion on the typological approaches and dialects; Chapter 4 focuses on phonetics, Chapter 5 on phonology, and Chapter 6 on the prosody. Chapter 7 focuses on generative approaches to Persian syntax, while Chapter 8 discusses other approaches to Persian syntax. Chapter 9 focuses on specific features of Persian syntax. Chapter 10 is on morphology, Chapter 11 on lexicography, and Chapter 12 introduces the Academy of Persian Language and Literature. Chapter 13 is on sociolinguistics, while Chapter 14 discusses language contact and multiculturalism in Iran. Chapter 15 discusses Persian as a heritage language and Chapter 16 is on Persian language pedagogy. Chapter 17 is focused on psycholinguistics, Chapter 18 on neurolinguistics, and Chapter 19 is on computational linguistics. The handbook, in one volume, gives critical expression to the Persian language and as such is a great resource for scholars, advanced students, and those researching in related areas.

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22

Ito, Junko, and Armin Mester. A prosodic account of consonant gemination in Japanese loanwords. Edited by Haruo Kubozono. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198754930.003.0013.

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This chapter is a study of the distribution of geminate consonants in Japanese loanwords, which differs in significant ways from their distribution in native words. Both prosodic markedness and faithfulness to the source word plays a central role. Sometimes, such as in loanwords from Italian, geminates are preserved as such. But usually, as in loanwords from English, gemination is a way of preserving word-final coda-hood in the source word. Whether or not a given consonant is geminated depends on a host of complex segmental factors that are the result of a whole family of anti-gemination constraints, ranked at different points within the constraint hierarchy of an optimality-theoretic grammar. Finally, significant higher-level prosodic factors that are part of the native system are at work, and explain many details of the gemination pattern that are rooted neither in faithfulness to the source word nor in segmental features.

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23

Bijankhan, Mahmood. Phonology. Edited by Anousha Sedighi and Pouneh Shabani-Jadidi. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198736745.013.5.

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This chapter reviews the organization of sounds in the contemporary Persian language and discusses the issues in phoneme inventory, syllable structure, distinctive features, phonological rules, rule interaction, and prosodic structure according to the framework of the derivational phonology. Laryngeal states responsible for contrast in pairs of homorganic stops and fricatives are different in Persian. Phonological status of continuancy is controversial for the uvular obstruent. Glottal stop is distinctive at the beginning of loan-words while not at the beginning of the original Persian words. Phonotactic constraints within the codas of the syllables violate the sonority sequencing principle. Glottals are moraic in the coda position. Feature geometry is posited on the sound distinctions and patterns within phonological processes. Eleven phonological rules are explained to suggest natural classes. Interaction of some rules is derived. Laryngeal conspiracy, syllable structure, and intersegmental processes are analysed according to interaction of ranked violable constraints of optimality theory.

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24

Winner, Ellen. Wordless Sounds. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863357.003.0003.

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Philosophers have worried that music cannot be sad or happy. Only sentient creatures can have emotions. However, empirical studies show that people do perceive emotions in music, including music from unfamiliar traditions. The question then becomes how music conveys emotion. Research shows that structural features in music mirror how emotions are conveyed by prosodic features of speech. When we are sad we speak slowly, softly, and in a low register; and when music is slow and soft and low, we perceive it as sad. Other emotional properties (like the link between the minor mode and sadness, the major mode and happiness) may be learned, but this matter remains in dispute. The research provides no support for the claim that music does not express emotions. The conventional wisdom that music is the language of the emotions holds up very well.

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25

Rokison, Abigail. Shakespeare’s Dramatic Verse Line. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0024.

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Using examples from Shakespeare’s early, middle, and late plays and from his Tragedies, Comedies, and Histories, this chapter charts developments and explores patterns in Shakespeare’s dramatic verse line across the genres and time span of his writing career. It examines incidences of end-stopping and enjambment, mid-line breaks, shared, short, and long verse lines, considering the ways in which these relate to the subject matter of scenes and may function as a means of reflecting a character’s emotional or mental state. The chapter draws on evidence from Renaissance prosodic accounts, printed texts, theatrical papers, and evidence relating to early modern theatre practice and considers the ways in which the features of the dramatic line are interpreted by modern theatre practitioners.

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26

Valian, Virginia. Null Subjects. Edited by Jeffrey L. Lidz, William Snyder, and Joe Pater. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199601264.013.17.

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Some languages have obligatory overt subjects in all person and tense combinations (e.g., English); some have optional overt subjects in all combinations (e.g., Italian; Chinese); some are mixed (e.g., Hebrew, Shipibo). Parameter setting is less workable an explanation for language variation than is a feature approach. Children in non-null subject languages produce more subjects than do children in null subject languages; children of all language types gradually produce more subjects, especially pronominal subjects, as development proceeds; children are most likely to produce subjects that fit a prosodic template, have high information content, or are in shorter utterances; children produce fewer subjects than obligatory objects. No current acquisition theory—purely competence, purely performance, or hybrid—explains all the behavioral phenomena.

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