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Artículos de revistas sobre el tema "Tone"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Fong, Ivan, Fenqi Wang, Kira Chan, et al. "Phonetic adaptation in conversation: The case of Cantonese tone merging." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A314. http://dx.doi.org/10.1121/10.0027635.

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Phonetic adaptation occurs when one interlocutor adjusts their speech to converge to or diverge from that of their conversation partner to enhance intelligibility. While most research investigates segmental adaptations, our study focuses on suprasegmentals, specifically Cantonese tone merging. Some Cantonese speakers (“mergers”) are found to merge certain lexical tones (e.g., mid-level Tone3 and low-level Tone6), which may cause confusions when interacting with non-merger speakers. Previous research has shown that a merger may unmerge a level tone pair (Tone3/Tone6) when shadowing a non-merger

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2

Gbeto, Flavien. "Esquisse de la tonologie synchronique de Wemɛgbe dialecte Gbe du sud-Benin". Studies in African Linguistics 33, № 1 (2004): 66–90. http://dx.doi.org/10.32473/sal.v33i1.107339.

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In this paper I show that Wemegbe, a language spoken in southern Benin, has two underlying tones, H and L, and that the surface tones M, LH and HL are derived by phonological rules. A H tone is inserted after an initial prevocalic voiceless obstruent (occurring in non verbals), creating a HL contour tone, when the vowel of the syllable is L toned. The LH tone is derived through a rightspreading rule from a L' prefix tone, which is postulated for all verbs in their imperative forms and for all nouns. Of particular interest is the fact that the rightward spreading rule for L' is blocked by a voi

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3

Rolle, Nicholas, and Otelemate Harry. "Why spread? Kalabari clitics spread their tone due to word-minimality, prosodic constituency, and *LHH tonotactics." Phonological Data and Analysis 7, no. 2 (2025): 1–35. https://doi.org/10.3765/pda.v7art2.82.

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Why do certain morphemes spread their tones, while other morphemes do not? We address this funda-mental question in Kalabari (Kalaḅarị-Ịjọ), where certain clitics trigger a process of ‘low tone spread’ targeting following high tones (e.g. à ‘I’ in /à páḅụ́rụ́tẹ́ꜜẹ́/→[à pàḅụ̀rụ̀tẹ́ꜜẹ́]‘I have stammered’). We provide a comprehensive description of this process, establishing that its only triggers are a small class of prosodically-deficient pronominal clitics, all of which are low-toned, monosyllabic, and onsetless. We claim that these properties together prevent it from being parsed as a separat

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4

Myers, Scott. "Tone association and F₀ timing in Chichewa." Studies in African Linguistics 28, no. 2 (1999): 215–40. http://dx.doi.org/10.32473/sal.v28i2.107375.

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In Chichewa (Bantu, Malawi), a high tone is realized as a peak in fundamental frequency (fO). In this study, the timing of fO peaks relative to the duration of the high-toned syllable was measured for high tones in phrase-medial, -penultimate and -final positions. No phonetic support was found for the assumption in the literature that a phrase-medial high tone is spread over two syllables. Instead, it was found that such a high tone is realized with a significantly later fO peak than a high tone in the last two syllables. On the other hand, support was found for Kanerva's proposal that a phras

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5

Teeranon, Phanintra, and Rungwimol Rungrojsuwan. "Change in the Standard Thai High Tone: An Acoustic Study." MANUSYA 12, no. 3 (2009): 34–44. http://dx.doi.org/10.1163/26659077-01203003.

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6

Lin, Hui-shan. "Indirect tone-prominence interaction in Kunming tone sandhi." Concentric. Studies in Linguistics 45, no. 1 (2019): 44–81. http://dx.doi.org/10.1075/consl.00003.li.

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Abstract Kunming exhibits a special kind of interaction between tone and prominence whereby the prosodic headedness is shown to play an indirect role in tone sandhi. Due to higher-ranked tonal faithfulness constraints, lower tones, which are universally unfavored in the head position, do not change to higher tones, and higher tones, which are universally unfavored in the non-head position, do not change to lower tones. Nonetheless, though the unfavored tone-(non-)head correlation does not directly trigger tone sandhi, it indirectly decides whether tone sandhi will take place. Falling tones, in

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7

Tu, Jung-Yueh. "Analysis of errors in Mandarin disyllabic tones produced by Vietnamese speakers." Global Chinese 9, no. 2 (2023): 215–30. http://dx.doi.org/10.1515/glochi-2023-0017.

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Abstract This study investigates the tone production of Mandarin disyllabic words by Vietnamese speakers. It aims to provide insights into the challenges Vietnamese speakers face when producing Mandarin tones in disyllabic words. In the study, there were 30 Vietnamese L2 learners of Mandarin, who were requested to produce 80 (4 tones × 4 tones × 5 words of each tonal combination) disyllabic words in Mandarin. The overall results showed that Tone 4 was the most difficult among the four lexical tones. In the first syllable, most errors were found for Tone 3 when followed by another Tone 3 (where

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8

Yang, Chunsheng. "Tone errors in scripted conversations of L2 Mandarin Chinese." Chinese as a Second Language Research 5, no. 1 (2016): 63–86. http://dx.doi.org/10.1515/caslar-2016-0003.

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AbstractThis study examines the acquisition of Mandarin tones by American English speaking second language (L2) learners. Three types of tone sequences, namely, compatible tone sequences, conflicting tone sequences, and other tone sequences, were used. The analysis of tone errors in different tone sequences showed that, while learners seemed to have acquired the Tone 3 and its sandhi, they tended to over-apply the sandhi rule in inappropriate contexts and produced tone errors. More importantly, the low and rising tones, which are generally difficult for L2 learners to produce, were the most fr

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9

Wu, Han, Yixiao Zhang, Yiru Liu, et al. "The Neural Development of Chinese Lexical Tone Perception: A Mismatch Negativity Study Across Childhood, Adolescence, and Adulthood." Brain Sciences 15, no. 1 (2025): 93. https://doi.org/10.3390/brainsci15010093.

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Background/Objectives: In a tonal language like Chinese, phonologically contrasting tones signify word meanings at the syllable level. Although the development of lexical tone perception ability has been examined in many behavioral studies, its developmental trajectory from childhood to adulthood at the neural level remains unclear. This cross-sectional study aimed to examine the issue by measuring the mismatch negativity (MMN) response to a Chinese lexical tonal contrast in three groups. Methods: The MMN response to a flat-falling tonal contrast (Tone1 versus Tone4) were recorded from childre

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10

Li, Yuqing, and Feng Yang. "A Study on the Tone Perception of Mandarin by Native Speakers of Shaoxing Dialect." Philosophy and Social Science 1, no. 4 (2024): 45–49. http://dx.doi.org/10.62381/p243407.

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This article studies how native speakers of Shaoxing dialect perceive Mandarin tones, and whether there is a perceptual correspondence between the tone system of Shaoxing dialect and Mandarin tone system. Ten participants from the Shaoxing dialect area were selected to create six pairs of Mandarin tone opposition groups, with a total of 60 Mandarin perception samples. The perception experiment was conducted using E-Prime software. The subjects determine which tone in the dialect is similar to the Mandarin tone they hear, and then input the similar tone category. Finally, statistical analysis i

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11

Mugele, Robert, and Michael Rodewald. "Aspects of Bandi tonology." Studies in African Linguistics 22, no. 2 (1991): 105–34. http://dx.doi.org/10.32473/sal.v22i2.107425.

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Bandi tonology offers three points of interest. The first is low tone opacity. Several tone rules act to obscure the presence of underlying low tones in Bandi. In some cases low tones are lost completely while in other cases underlying low tones are manifested phonetically as downstep tones or as the low of a falling glide. The net result of Bandi tone rules is to create considerable opacity with respect to low tones. Second, is the treatment of polarizing tones. In Bandi, polarization rules cannot merely create a new tone, but must assign tone height to an underlying tone of unspecified tone

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12

Tu Anh, Van. "THỰC NGHIỆM BƯỚC ĐẦU SỬ DỤNG CÁC PHẦN MỀM PHÂN TÍCH TIẾNG NÓI COOLEDIT VÀ PRAAT GIÚP HỌC VIÊN NƯỚC NGOÀI VÀ TRẺ NGHE KÉM PHÁT ÂM ĐÚNG THANH ĐIỆU TIẾNG VIỆT". TẠP CHÍ KHOA HỌC NGÔN NGỮ VÀ VĂN HÓA 2, № 1 (2018): 1–8. https://doi.org/10.63506/jilc.0201.234.

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There were two groups of learners in the experiment: three foreigners in Group 1 and three hard-of-hearing Vietnamese children in Group 2. During 30 minutes of each lesson, the author pronounced 18 syllables carrying six Vietnamese tones, namely tone 1 - high level tone, tone 2 - low level tone, tone 3 - high falling-rising tone, tone 4 - low falling-rising tone, tone 5 - high rising tone, tone 6 - low rising tone. The pronunciations were recorded, using CoolEdit Speech Analysis Software, and the contour of six tones in those 18 syllables were displayed, using PRAAT. The learners were asked to

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13

Wong, Puisan, and Carrie Tsz-Tin Leung. "Suprasegmental Features Are Not Acquired Early: Perception and Production of Monosyllabic Cantonese Lexical Tones in 4- to 6-Year-Old Preschool Children." Journal of Speech, Language, and Hearing Research 61, no. 5 (2018): 1070–85. http://dx.doi.org/10.1044/2018_jslhr-s-17-0288.

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Purpose Previous studies reported that children acquire Cantonese tones before 3 years of age, supporting the assumption in models of phonological development that suprasegmental features are acquired rapidly and early in children. Yet, recent research found a large disparity in the age of Cantonese tone acquisition. This study investigated Cantonese tone development in 4- to 6-year-old children. Method Forty-eight 4- to 6-year-old Cantonese-speaking children and 28 mothers of the children labeled 30 pictures representing familiar words in the 6 tones in a picture-naming task and identified pi

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14

Yanting, Sun. "Tone Alternation, Polarity, and Down-stepping Influences in Four Noun Categories in Lama." IgMin Research 2, no. 12 (2024): 958–68. https://doi.org/10.61927/igmin273.

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The Lama language, spoken in Togo, West Africa, belongs to the Gur language family. Linguistic studies on Lama‘s tonal system, particularly within the generative grammar framework, remain limited. This study presents a detailed analysis of the tonal rules in Lama, focusing specifically on noun morphology. A comparative analysis of four noun categories reveals: (a) the categories exhibit three surface tone patterns (high-level, low-level, and falling) in isolation; (b) within phrases, the Low Tone Deletion Rule polarises the categories to two tones, retaining only high-level and low-level tones

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15

Duan, Yanhua, Yonghong Li, Li Ma, and Xianghe Meng. "Experimental Study on Monosyllabic Tones in the Dunhuang Hedong Dialect." BCP Education & Psychology 11 (December 21, 2023): 12–21. http://dx.doi.org/10.54691/pr1tgm58.

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This article uses experimental phonetics to study the tones of the Dunhuang Hedong dialect. It analyzes the tone types of the Dunhuang Hedong dialect and discusses the fundamental frequency changes and pitch range of each tone type. The experimental results show that the Dunhuang Hedong dialect has four tone types: the dark level tone (213), the light level tone (24), the rising tone (51), and the departing tone (44). The main purpose of this article is to provide an objective description of the actual situation of monosyllabic tones in the Dunhuang Hedong dialect through detailed and accurate

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16

Geringer, John M., and Michael D. Worthy. "Effects of Tone-Quality Changes on Intonation and Tone-Quality Ratings of High School and College Instrumentalists." Journal of Research in Music Education 47, no. 2 (1999): 135–49. http://dx.doi.org/10.2307/3345719.

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We investigated the effects of variations in tone quality on listeners' perception of both tone quality and intonation. University music and nonmusic major instrumentalists and high school students participating in instrumental ensembles served as listeners ( N = 116). High-quality digital samples of clarinet, trumpet, and trombone tones were used. The original tone quality of each instrument was manipulated to produce experimental stimuli of “bright” and “dark” relative to the unaltered tone quality. Results indicated that the more inexperienced instrumentalists rated stimuli that were relati

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17

Mallipeddi, Rakesh R., Ramkumar Janakiraman, Subodha Kumar, and Seema Gupta. "The Effects of Social Media Content Created by Human Brands on Engagement: Evidence from Indian General Election 2014." Information Systems Research 32, no. 1 (2021): 212–37. http://dx.doi.org/10.1287/isre.2020.0961.

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With human brands or individual celebrities in fields ranging from sports to politics increasingly using social media platforms to engage with their audience, it is important to understand the key drivers of online engagement. Using Twitter data from the political domain, we show that positive and negative-toned content receive higher engagement, as measured by retweets, than mixed or neutral toned tweets. However, less popular human brands generate higher social media engagement from positive-toned content compared with more popular human brands. Therefore, we recommend that popular human bra

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18

Wang, Yuxia, Xiaohu Yang, Hongwei Ding, Can Xu, and Chang Liu. "Aging Effects on Categorical Perception of Mandarin Lexical Tones in Noise." Journal of Speech, Language, and Hearing Research 64, no. 4 (2021): 1376–89. http://dx.doi.org/10.1044/2020_jslhr-20-00509.

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Purpose The purpose of this study was to examine the aging effects on the categorical perception (CP) of Mandarin lexical Tones 1–4 and Tones 1–2 in noise. It also investigated whether listeners' categorical tone perception in noise correlated with their general tone identification of 20 natural vowel-plus-tone signals in noise. Method Twelve younger and 12 older listeners with normal hearing were recruited in both tone identification and discrimination tasks in a CP paradigm where fundamental frequency contours of target stimuli varied systematically from the flat tone (Tone 1) to the rising/

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19

Shi, Mengrui, and Qiang Li. "An fMRI Study of How Deaf Children Process the Two Tones (Second Tone and Third Tone) in Mandarin Chinese." International Journal of Languages, Literature and Linguistics 10, no. 3 (2024): 269–73. http://dx.doi.org/10.18178/ijlll.2024.10.3.524.

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The objective of this study is to investigate the brain activity patterns of deaf children and hearing children during the processing of two different tones (second tone and third tone) using resting-state functional Magnetic Resonance Imaging (fMRI). Furthermore, the study aims to identify the differences in brain activation regions between deaf children and hearing children during the tone processing task. Five deaf children and two hearing children were selected as participants. Resting-state functional Magnetic Resonance Imaging (fMRI) scans were conducted on the subjects using an fMRI sca

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20

Ludwig, Horst‐Michael, Matthias Müller, Guido Morgenthal, Thomas Eckert, and Justin Wellmann. "Nottenkämperton – Der Weg zum puzzolanischen Zusatzstoff." ce/papers 6, no. 6 (2023): 441–45. http://dx.doi.org/10.1002/cepa.2770.

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AbstractDie Anwendung calcinierter Tone als Zementsubstitut ist seit einigen Jahren Gegenstand intensiver Forschung. Dennoch steht, insbesondere in Deutschland, die Anwendung dieser Materialien erst am Anfang. Mit dem prognostizierten Einbruch der Hüttensand‐ und Flugascheproduktion werden calcinierte Tone auch in Deutschland mittelfristig einen wichtigen Stellenwert einnehmen. Aus Gründen der Wirtschaftlichkeit und Verfügbarkeit kommt insbesondere den „unreinen” Tonen mit geringen Kaolingehalten eine besondere Bedeutung zu. Im Rahmen dieser Studie wurde die Eignung eines vorwiegend illitische

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21

Wang, Ting, Jun Liu, Yong-hun Lee, and Yong-cheol Lee. "The interaction between tone and prosodic focus in Mandarin Chinese." Language and Linguistics / 語言暨語言學 21, no. 2 (2020): 331–50. http://dx.doi.org/10.1075/lali.00063.wan.

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Abstract This study characterized focused tones in Mandarin Chinese through a production experiment using phone number strings. The results revealed that, although phonation cues had little effect on any focused tone, prosodic cues exhibited various patterns of distribution. Duration played an important role for each focused tone, but intensity had a relatively less salient role. Among pitch-related parameters, the raising of pitch register was an important cue when a level tone (tone 1) was focused. By contrast, due to the interaction between tone and intonation, absolute slope and pitch rang

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22

Ruusuvirta, Timo, Piia Astikainen, and Jan Wikgren. "Proactive Interference of Differently Ordered Tone Sequences with the Accuracy and Speed of Two-Tone Frequency Comparisons." Music Perception 19, no. 4 (2002): 551–63. http://dx.doi.org/10.1525/mp.2002.19.4.551.

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Participants judged the direction of the frequency difference between a standard tone and a comparison tone separated by a silent interval and preceded by a series of three interfering tones. The frequencies of the interfering tones were all either lower/higher than (providing interference) or the same as (providing no interference) the standard-tone frequency. When providing interference, the interfering tones were further ordered either randomly or so that they formed melodically ascending/ descending sequences toward the standard-tone frequency. Irrespective of the order of the interfering

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23

Worthy, Michael D. "Effects of Tone-Quality Conditions on Perception and Performance of Pitch among Selected Wind Instrumentalists." Journal of Research in Music Education 48, no. 3 (2000): 222–36. http://dx.doi.org/10.2307/3345395.

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The purpose of this study was to assess the effects of changes in tone quality on the perception of pitch and to determine the extent to which the same tone-quality conditions would affect the performance of pitch. The experiment was conducted in two segments: a perception task that involved judgments of paired comparisons of tones, and a performance task that involved tone matching. High school and university wind instrumentalists participated in perception and performance tasks that were similar to provide a basis for comparison. Results indicated that tone-quality conditions had significant

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24

Kuang, Yutong. "Synchronic Variation and Diachronic Evolution of Tone Patterns in Kunming Dialect." International Journal of Languages, Literature and Linguistics 8, no. 4 (2022): 295–301. http://dx.doi.org/10.18178/ijlll.2022.8.4.365.

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An acoustic experiment was conducted to analyze the tonal patterns of single characters in the Kunming dialect. The experimental results show that the Kunming dialect has a semi-high flat tone for the first tone, a low descending tone for the second tone, a high descending tone for the third tone, and a low tone for the fourth tone. The first and third tones are both high, while the second and fourth are both low tones, as opposed to the tonal patterns of "flat" and "low". The newer Kunming dialects show variation. The first tone starts and ends at a higher level, the third tone's bent section

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25

Rungruang, Apichai, and Yanhong Mu. "Mandarin Chinese Tonal Acquisition by Thai Speakers." Asian Social Science 13, no. 5 (2017): 107. http://dx.doi.org/10.5539/ass.v13n5p107.

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The aim of the present empirical study is two-fold. The first aim is to investigate why Thai university students perceive a certain tone better than others or why a certain tone is more difficult to perceive than others. The second aim is to examine to what extent Thai university students can perceive four Chinese Mandarin tones. 14 volunteer university students (2 males; 12 females) participated in the study. Research tools were structured interview and the perception test. The findings from the interview reveal that 9 out of 14 (64%) students claimed that tone 4 was the easiest tone either t

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26

Li, Yanping, Michael Tyler, Denis Burnham, and Catherine Best. "Categorization and discrimination of Mandarin lexical tones by naïve English listeners." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A157. http://dx.doi.org/10.1121/10.0023113.

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Unlike tone languages such as Mandarin, English lacks tones at the sub-lexical level. Accordingly, English listeners have difficulty perceptually assimilating tones as categorized or uncategorized native segments (Perceptual Assimilation Model, PAM: Best, 1995). While English listeners can categorize the four lexical tones of Mandarin, i.e., level contour, rising, dipping, and falling, when given question, statement, exclamation, and uncertainty intonations as category choices (So & Best, 2011, 2014), this does not address tone assimilation at the segmental level. We reasoned that they mig

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27

Jurado, Carlos, Man Yui Pat Chow, Ka Man Lydia Leung, et al. "The Spectral Extent of Phasic Suppression of Loudness and Distortion-Product Otoacoustic Emissions by Infrasound and Low-Frequency Tones." Journal of the Association for Research in Otolaryngology 23, no. 2 (2022): 167–81. http://dx.doi.org/10.1007/s10162-021-00830-2.

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AbstractWe investigated the effect of a biasing tone close to 5, 15, or 30 Hz on the response to higher-frequency probe tones, behaviorally, and by measuring distortion-product otoacoustic emissions (DPOAEs). The amplitude of the biasing tone was adjusted for criterion suppression of cubic DPOAE elicited by probe tones presented between 0.7 and 8 kHz, or criterion loudness suppression of a train of tone-pip probes in the range 0.125–8 kHz. For DPOAEs, the biasing-tone level for criterion suppression increased with probe-tone frequency by 8–9 dB/octave, consistent with an apex-to-base gradient

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28

Köhnlein, Björn. "The complex durational relationship of contour tones and level tones." Diachronica 32, no. 2 (2015): 231–67. http://dx.doi.org/10.1075/dia.32.2.03koh.

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The production of a contour tone requires a longer duration than the production of a level tone. This paper demonstrates that this durational relationship becomes considerably more complex when tones are realized on bimoraic sonorant units that can support both level tones and contour tones. Evidence comes from diachronic processes in which pitch and duration interact. In languages where (intrinsic) durational differences between two groups of bimoraic units lead to tonal contrasts, the longer units commonly receive a contour tone, and the shorter ones a level tone; yet over time, the units wi

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Chin, Jessica L., and Mark Antoniou. "Using L1 tone and intonation categories to investigate patterns in nonnative tone identification." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A161. http://dx.doi.org/10.1121/10.0023130.

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Many languages utilise lexical tone, a feature which assigns meaning to words through variations in pitch contours. In some (but not all) cases, prior tone language experience can facilitate the learning of a nonnative tone language. Regardless, multiple sessions of tone training can improve nonnative tone perception for both tone and nontone L1 listeners. However, the influence of L1 tone and intonation categories on nonnative tone learning is underexplored. Across five sessions of tone training, listeners of nontonal English (n = 25), tonal Mandarin (n = 23), and tonal Vietnamese (n = 25) le

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Chen, Ling, and Shengbing Li. "An Experimental Study of Chinese Disyllabic Tone Errors in Native French Speakers and an Investigation of Online Teaching Strategies." SHS Web of Conferences 174 (2023): 01015. http://dx.doi.org/10.1051/shsconf/202317401015.

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In the learning of Chinese as a second language, phonetic learning serves as the basis of the whole learning process, among which the learning of Chinese tones is of paramount importance. In this regard, this paper aims to explore the pronunciation of Chinese tones by native French speakers in the target language environment. First, through the experimental analysis as well as the recording of the tones of native French speakers, this paper selects a total of 237 disyllabic words, with a total of four combinations determined except for the combination of the same disyllabic neutral tone in the

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31

Besouw, Rachel M. Van, Jude S. Brereton, and David M. Howard. "Range of Tuning for Tones With and Without Vibrato." Music Perception 26, no. 2 (2008): 145–55. http://dx.doi.org/10.1525/mp.2008.26.2.145.

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PREVIOUS STUDIES ON VIBRATO PITCH HAVE attempted to determine the "principal pitch" of vibrato tones and not the range of tuning for such tones in a melodic context. This study investigates the range of acceptable tuning (RAT) for tones with and without vibrato, using repeating ascending and descending three-tone arpeggios. The second tone in each sequence was modulated or unmodulated with an initial pitch that was flat or sharp. With each repetition the pitch of the second tone increased or decreased by 3 cents depending upon the initial pitch condition. Participants indicated when they perce

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32

Leben, W. R. "Tonal feet and the adaptation of English borrowings into Hausa." Studies in African Linguistics 25, no. 2 (1996): 129–54. http://dx.doi.org/10.32473/sal.v25i2.107400.

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This paper investigates how Hausa places a tonal interpretation on stress in English borrowings. A key intermediary in this process is the tonal foot, which is maximally disyllabic. Tonal feet are of two kinds, in complementary distribution in the data. One is interpreted as HL, or falling-toned, the other as High-toned. The analysis represents a significant advance over the less highly structured view that a simple substitution algorithm replaces stresses with tones, e.g., High tone for-stressed syllables and Low tone for unstressed. This provides a boost for the status of the tonal foot as a

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33

Tranel, Bernard. "Tone Sandhi and vowel deletion in Margi." Studies in African Linguistics 23, no. 2 (1993): 111–84. http://dx.doi.org/10.32473/sal.v23i2.107415.

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Within the theoretical framework of nonlinear phonology, this paper proposes an account of tone sandhi and vowel deletion in Margi, a Chadic language spoken in Northern Nigeria. The database is Hoffman's Grammar of the Margi Language. Language-specific tonal processes in Margi are shown to originate in tone trapping, i.e., the impossibility for a tone to anchor to a skeletal slot by a universal mechanism. The paper identifies the circumstances leading to tone trapping (e.g., Vowel Elision) and formalizes the various tone-rescue processes available both word-internally and across words. Whereas

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34

Hsu, Wei Chih, Jung Nan Sun, and Huai I. Wang. "An Approach to Tone Recognition of Mandarin Speech Based-On Two-Stage Model." Applied Mechanics and Materials 145 (December 2011): 297–303. http://dx.doi.org/10.4028/www.scientific.net/amm.145.297.

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After inspecting the pitch contours of tone 1 of Mandarin speech, we found that the pitch contour of tone 1 consists of upward and downward line segments, while it is supposed that the contour of tone 1 is flat. Our study also found that tone 1 tends to be recognized as other three tones if the recognition algorithm used is based on the tone contour slope or shape. According to our experiments, we conclude that the recognition rate of the tones would be improved if two stage tone recognition scheme is conducted. At the first stage, tone one is recognized out and then the other three tones are

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35

Griffin, Laura, Samuel Akinbo, Avery Ozburn, and Tongpan Fwangwar. "Tonal alternations in attributive constructions in Mwaghavul." Proceedings of the Linguistic Society of America 10, no. 1 (2025): 5943. https://doi.org/10.3765/plsa.v10i1.5943.

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Mwaghavul is an underdocumented Chadic language spoken in Plateau State, Nigeria, by approximately 150,000 people (Blench 2011). Mwaghavul has tonal lowering in associative constructions, where the first nominal in the construction surfaces with low tone, regardless of its tone in isolation (Arokoyo & Fwangwar 2019). However, tonal lowering is not fully predictable, as some high tone nominals surface as mid tone in associative constructions, instead of low. Number of syllables, vowel length and quality are not consistent predictors, as there are minimal pairs for high tone alternations. We

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36

Andersen, Torben. "Downstep in Pari the tone system of a western Nilotic language." Studies in African Linguistics 19, no. 3 (1988): 261–316. http://dx.doi.org/10.32473/sal.v19i3.107458.

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Pari, a Western Nilotic language, has a terraced-level tone system with total downstep. Although Pari could be analyzed as having three basic tone levels and automatic downstep, there is morphological evidence that it has two basic tone levels and non-automatic downstep. Furthermore, there is evidence that downstep is the manifestation of a floating high tone. Floating tones thus behave differently from tones of deleted vowels. In spite of many surface differences between Pari and Luo, a related language, a single tone change accounts for their underlying differences.

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37

Tong, Xiuli, Catherine McBride, and Denis Burnham. "Cues for Lexical Tone Perception in Children: Acoustic Correlates and Phonetic Context Effects." Journal of Speech, Language, and Hearing Research 57, no. 5 (2014): 1589–605. http://dx.doi.org/10.1044/2014_jslhr-s-13-0145.

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Purpose The authors investigated the effects of acoustic cues (i.e., pitch height, pitch contour, and pitch onset and offset) and phonetic context cues (i.e., syllable onsets and rimes) on lexical tone perception in Cantonese-speaking children. Method Eight minimum pairs of tonal contrasts were presented in either an identical phonetic context or in different phonetic contexts (different syllable onsets and rimes). Children were instructed to engage in tone identification and tone discrimination. Results Cantonese children attended to pitch onset in perceiving similarly contoured tones and att

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38

Xiaoyu, Zhou. "Acoustic experimental study on the tone sandhi of the Jino language." Linguistics of the Tibeto-Burman Area 47, no. 2 (2024): 254–83. https://doi.org/10.1075/ltba.00021.zho.

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Abstract This paper combines field investigation and phonetic experiments to study the monosyllabic tone and tone sandhi of the Jino language as spoken in Baka village. The study found that the phenomenon of tone sandhi in bisyllabic words of Jino language has describable rules: from a diachronic perspective, morphemes with the same historical origin exhibit the same tone alternation characteristics when constructing words, while morphemes with different historical origins exhibit different tone alternation characteristics. Morphemes derived from the *Proto-Lolo Tone 1 reorganize the metrical

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39

Rolle, Nicholas, and Lee Bickmore. "Outward-sensitive phonologically-conditioned suppletive allomorphy vs. first-last tone harmony in Cilungu." Morphology 32, no. 2 (2022): 197–247. http://dx.doi.org/10.1007/s11525-022-09391-3.

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AbstractWe present a case study of grammatical tone allomorphy in Cilungu (Bantu). Tense/Aspect/Mood designations (TAMs) are realized via co-exponence of prefixes, suffixes, and floating tones. In a minority of TAMs, there is allomorphy with the floating tones. For example, in the Recent Past one allomorph involves floating tone targeting the final mora of the stem ("Equation missing") versus one targeting the stem’s second mora ("Equation missing"2). For all such allomorphic TAMs, the alternation is conditioned by the tone of subject agreement markers (SMs) at the left edge of the word. If th

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40

Xu, Yanchu. "Study on tone-to-noise ratio calculation method for tones with frequency and amplitude variation." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 269, no. 1 (2024): 1124–34. http://dx.doi.org/10.3397/nc_2024_0150.

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This paper is to present a method on improving consistency and accuracy of Tone-to-Noise Ratio (TNR) calculation for varying frequency tones in reporting prominent discrete tone according to ECMA-418-1. For given sound pressure spectrum, existing TNR calculation methods require suspect tones to be selected by the analyst, who must also determine the width of the tone, that could introduce significant uncertainty and variation between different analysts. Moreover, tones associated with unstable frequency could cause even more uncertainty in determining tone frequency band. In this study, an app

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So, Connie K., and Catherine T. Best. "PHONETIC INFLUENCES ON ENGLISH AND FRENCH LISTENERS’ ASSIMILATION OF MANDARIN TONES TO NATIVE PROSODIC CATEGORIES." Studies in Second Language Acquisition 36, no. 2 (2014): 195–221. http://dx.doi.org/10.1017/s0272263114000047.

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This study examined how native speakers of Australian English and French, nontone languages with different lexical stress properties, perceived Mandarin tones in a sentence environment according to their native sentence intonation categories (i-Categories) in connected speech. Results showed that both English and French speakers categorized Mandarin tones primarily on the phonetic similarities of the pitch contours between the Mandarin tones and their native i-Categories. Moreover, French but not English speakers were able to detect the fine-detailed phonetic differences between Tone 3 (T3) an

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42

Wang, Yuxia, Xiaohu Yang, and Chang Liu. "Categorical Perception of Mandarin Chinese Tones 1–2 and Tones 1–4: Effects of Aging and Signal Duration." Journal of Speech, Language, and Hearing Research 60, no. 12 (2017): 3667–77. http://dx.doi.org/10.1044/2017_jslhr-h-17-0061.

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Purpose The purpose of this study was to investigate the aging effect on the categorical perception of Mandarin Chinese tones with varied fundamental frequency (F0) contours and signal duration. Method Both younger and older native Chinese listeners with normal hearing were recruited in 2 experiments: tone identification and tone discrimination on a series of stimuli with the F0 contour systematically varying from the flat tone to the rising–falling tones. Apart from F0 contour, tone duration was manipulated at 3 levels: 100, 200, and 400 ms. Results Results suggested that, compared with young

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SINGH, LEHER, ALOYSIA TAN, and THILANGA D. WEWALAARACHCHI. "Lexical tone variation and spoken word recognition in preschool children: effects of perceptual salience." Journal of Child Language 44, no. 4 (2016): 924–42. http://dx.doi.org/10.1017/s0305000916000325.

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AbstractChildren undergo gradual progression in their ability to differentiate correct and incorrect pronunciations of words, a process that is crucial to establishing a native vocabulary. For the most part, the development of mature phonological representations has been researched by investigating children's sensitivity to consonant and vowel variation, with a much lesser focus on lexical tones. The current study investigates sensitivity to lexical tones in word recognition with specific attention to role of perceptual salience. Chinese-speaking preschoolers were presented with familiar words

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Putra, Wawas Bangun Tegar Sunaryo, Karinka Bella Prasetya, and Jolyanto Jolyanto. "Human Versus Corporate Tone of Voice: Which one Performs Better in The Telecommunication Industry?" Jurnal Manajemen dan Kewirausahaan 12, no. 1 (2024): 1–13. http://dx.doi.org/10.26905/jmdk.v12i1.11416.

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This research delves into the nuanced impact of human and corporate tones of voice on perceived social presence, trust, and customer satisfaction, contrasting the communication strategies between the human tone of the voice-centric brand (HCB) and corporate tone of the voice-centric brand (CCB), two notable brands in the Indonesian market. Using the PLS-MGA technique, the study offers detailed insights into the real-world implications of these tones through two distinct case studies. Findings reveal a marked difference between HCB and CCB concerning the influence of tone on perceived social pr

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Du, Zhaojin, and Baoya Chen. "Uyghur speakers’ acquisition of Mandarin tones." Journal of Pidgin and Creole Languages 38, no. 1 (2023): 62–82. http://dx.doi.org/10.1075/jpcl.00104.du.

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Abstract This paper, based on Chinese and Uyghur language contact data collected through fieldwork, discusses in detail Uyghur speakers’ acquisition of Mandarin tones. Uyghur speakers map the three native pitch accents from the Uyghur prosodic system, i.e. level, rise, and fall, to the four Mandarin tones. Initially, this mapping is random. As Chinese proficiency improves, the accent-tone mapping becomes stable. The pace, however, is not uniform for the four tones, due to competition among the three accents to map unto a given Mandarin tone. After accent-tone mapping becomes stable, the mapped

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46

Olaide, Oladimeji. "Tense, Aspect and Negation in Ikhin: The Role of Tone." INTERNATIONAL JOURNAL OF SOCIAL SCIENCE HUMANITY & MANAGEMENT RESEARCH 02, no. 01 (2023): 01–16. https://doi.org/10.5281/zenodo.7503395.

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A recurring feature is the role of tone in the grammar of Ikhin. The associative H tomorph as a general feature of Edoid languages is well demonstrated in Ikhin. So is evidence of tone function in tense, aspect and negation. This paper examines the realization of tone in verbal elements in Ikhin. In this paper, by verbal elements, I mean tense, progressive aspect, negation and verb stem. This language has two basic tones and a downstep. The classic ‘two tones plus downstep’ is the most widespread in Edoid. The analysis of Ikhin tone system as containing two tones and a downstep con

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Pelzl, Eric, Matthew T. Carlson, Taomei Guo, Carrie N. Jackson, and Janet G. van Hell. "Tuning out tone errors? Native listeners do not down-weight tones when hearing unsystematic tone errors in foreign-accented Mandarin." Bilingualism: Language and Cognition 24, no. 1 (2020): 215–22. http://dx.doi.org/10.1017/s1366728920000280.

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AbstractListeners can adapt to errors in foreign-accented speech, but not all errors are alike. We investigated whether exposure to unsystematic tone errors in second language Mandarin impacts responses to accurately produced words. Native Mandarin speakers completed a cross-modal priming task with words produced by foreign-accented talkers who either produced consistently correct tones, or frequent tone errors. Facilitation from primes bearing correct tones was unaffected by the presence of tone errors elsewhere in the talker's speech. However, primes bearing tone errors inhibited recognition

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48

Ichimiya, Issei, and Hiroko Ichimiya. "Simulation of hearing loss can induce pitch shifts for complex tones." PeerJ 11 (September 15, 2023): e16053. http://dx.doi.org/10.7717/peerj.16053.

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Background Most studies on pitch shift provoked by hearing loss have been conducted using pure tones. However, many sounds encountered in everyday life are harmonic complex tones. In the present study, psychoacoustic experiments using complex tones were performed on healthy participants, and the possible mechanisms that cause pitch shift due to hearing loss are discussed. Methods Two experiments were performed in this study. In experiment 1, two tones were presented, and the participants were asked to select the tone that was higher in pitch. Partials with frequencies less than 250, 500, 750,

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49

Ding, Hongdi. "Phonology of Adur Niesu in Liangshan, Sichuan." Languages 8, no. 3 (2023): 164. http://dx.doi.org/10.3390/languages8030164.

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This study describes the segmental and suprasegmental phonology of Adur Niesu, a Loloish (or Ngwi) language spoken mainly in Liangshan, Sichuan, southwest China. Phonemically, there are 41 consonants, 10 monophthongs and 1 diphthong in Adur Niesu. All Adur syllables are open. Its segmental changes mainly happen to the vowels, featuring high vowel fricativization, vowel lowering, vowel centralization, vowel assimilation and vowel fusion. It is common for Adur Niesu syllables to be reduced in continuous speech, with floating tones left. There are three main types of syllable reduction: complete

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Meyase, Savio M. "Polarity in a four-level tone language: tone features in Tenyidie." Phonology 38, no. 1 (2021): 123–46. http://dx.doi.org/10.1017/s0952675721000063.

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This paper reports a new kind of tone polarity, where the phenomenon is seen in a language with four level tones, Tenyidie (also known as Angami). I show that the polarity is in the features of the tones, i.e. at a subtonal level. The data also provide evidence that tones themselves can be broken down into smaller features. Furthermore, I demonstrate that the polarity pattern observed in the language is an epiphenomenon, a reflex of the Obligatory Contour Principle, not a phonological process in its own right. I show this with the help of a new type of tonal representation. Theoretical discuss

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