Abstract: Raga, as the soul and base, is a distinctive musical entity, in the music system, with unique structure on its construction of srutis (musical sounds) and application. One of the essential components of the music system is the ‘tala’ that defines the rhythm of a song. There are seven basic swaras (notes) Sa, Ri, Ga, Ma, Pa, Da and Ni in the carnatic music system that are analogous to the C, D, E, F, G, A and B of the western system. The carnatic music further builds on conscious use of microtones, gamakams (oscillation) and rendering styles. It has basic 72 ragas known as melakarta ragas, and a plethora of ragas have been developed from them with permutations and combinations of the basic swaras. Among them, some ragas derived from a same melakarta raga are distinctly different from each other and could evoke a profound difference in the raga bhava (emotion) during rendering. Although these could bear similar arohana and avarohana swaras, their quintessential differences in the gamakas usage and srutis present therein offer varied melodic feelings; variations in the intonation and stress given to certain swara phrases are the root causes. This article enlightens a group of such allied ragas (AR) from the perspectives of their schema and raga alapana (improvisation), ranjaka prayogas (signature phrases), differences in rendering tempo, gamakas and delicate srutis along with the range of sancharas (musical phrases). The intricate differences on the sruti frequencies and use of AR in composing kritis (musical compositions) toward emotive accomplishments such as mood of valor, kindness, love, humor, anger, mercy to name few, have also been explored. A brief review on the existing scientific research on the music therapy on some of the Carnatic ragas is presented. Studying and comprehending the AR, indeed, enable the music aspirants to gain a thorough knowledge on the subtle nuances among the ragas. Such knowledge helps leave a long-lasting melodic impression on the listeners and enable further research on the music therapy.
Abstract: This study aims to investigate the acquisition process of intonation. It examines the intonation structure of Tokyo Japanese and its realization by Iranian learners of Japanese. Seven Iranian learners of Japanese, differing in fluency, and two Japanese speakers participated in the experiment. Two sentences were used to test the phonological and phonetic characteristics of lexical pitch-accent as well as the intonation patterns produced by the speakers. Both sentences consisted of similar words with the same number of syllables and lexical pitch-accents but different syntactic structure. Speakers were asked to read each sentence three times at normal speed, and the data were analyzed by Praat. The results show that lexical pitch-accent, Accentual Phrase (AP) and AP boundary tone realization vary depending on sentence type. For sentences of type XdeYwo, the lexical pitch-accent is realized properly. However, there is a rise in AP boundary tone regardless of speakers’ level of fluency. In contrast, in sentences of type XnoYwo, the lexical pitch-accent and AP boundary tone vary depending on the speakers’ fluency level. Advanced speakers are better at grouping words into phrases and produce more native-like intonation patterns, though they are not able to realize downstep properly. The non-native speakers tried to realize proper intonation patterns by making changes in lexical accent and boundary tone.
Abstract: Linguistic oral competence plays a vital role in attaining effective communication. Since the English language is considered as universally used language and has a high demand skill needed in the work-place, mastery is the expected output from learners. To achieve this, learners should be given integrated differentiated tasks which help them develop and strengthen the expected skills. This study aimed to develop speaking instructional supplementary material to enhance the English linguistic competence of Grade 9 students in areas of pronunciation, intonation and stress, voice projection, diction and fluency. A descriptive analysis was utilized to analyze the speaking level of performance of the students in order to employ appropriate strategies. There were two sets of respondents: 178 Grade 9 students selected through a stratified sampling and chosen at random. The other set comprised English teachers who evaluated the usefulness of the devised teaching materials. A teacher conducted a speaking test and activities were employed to analyze the speaking needs of students. Observation and recordings were also used to evaluate the students’ performance. The findings revealed that the English pronunciation of the students was slightly unclear at times, but generally fair. There were lapses but generally they rated moderate in intonation and stress, because of other language interference. In terms of voice projection, students have erratic high volume pitch. For diction, the students’ ability to produce comprehensible language is limited, and as to fluency, the choice of vocabulary and use of structure were severely limited. Based on the students’ speaking needs analyses, the supplementary material devised was based on Nunan’s IM model, incorporating context of daily life and global work settings, considering the principle that language is best learned in the actual meaningful situation. To widen the mastery of skill, a rich learning environment, filled with a variety instructional material tends to foster faster acquisition of the requisite skills for sustained learning and development. The role of IM is to encourage information to stick in the learners’ mind, as what is seen is understood more than what is heard. Teachers say they found the IM “very useful.” This implied that English teachers could adopt the materials to improve the speaking skills of students. Further, teachers should provide varied opportunities for students to get involved in real life situations where they could take turns in asking and answering questions and share information related to the activities. This would minimize anxiety among students in the use of the English language.
Abstract: Gestures play a major role in comprehension and
memory recall due to the fact that aid the efficient channel of
the meaning and support listeners’ comprehension and memory. In
the present study, the assistance of two kinds of gestures (iconic
and beat gestures) is tested in regards to memory and recall. The
hypothesis investigated here is whether or not iconic and beat gestures
provide assistance in memory and recall in Greek and in Greek
speakers’ second language. Two groups of participants were formed,
one comprising Greeks that reside in Athens and one with Greeks
that reside in Copenhagen. Three kinds of stimuli were used: A video
with words accompanied with iconic gestures, a video with words
accompanied with beat gestures and a video with words alone. The
languages used are Greek and English. The words in the English
videos were spoken by a native English speaker and by a Greek
speaker talking English. The reason for this is that when it comes to
beat gestures that serve a meta-cognitive function and are generated
according to the intonation of a language, prosody plays a major
role. Thus, participants that have different influences in prosody may
generate different results from rhythmic gestures. Memory recall was
assessed by asking the participants to try to remember as many
words as they could after viewing each video. Results show that
iconic gestures provide significant assistance in memory and recall
in Greek and in English whether they are produced by a native or
a second language speaker. In the case of beat gestures though, the
findings indicate that beat gestures may not play such a significant
role in Greek language. As far as intonation is concerned, a significant
difference was not found in the case of beat gestures produced by a
native English speaker and by a Greek speaker talking English.
Abstract: In a language the inventory of greetings is dynamic with frequent input and output, although this is hardly noticed by the speakers. In this register, there are a number of constant, conservative elements that survive different language models (among them, the classic formulae: bună ziua! (good afternoon!), bună seara! (good evening!), noapte bună! (good night!), la revedere! (goodbye!) and a number of items that fail to pass the test of time, according to language use at a time (ciao!, pa!, bai!). The source of innovation depends both of internal factors (contraction, conversion, combination of classic formulae of greetings), and of external ones (borrowings and calques). Their use imposes their frequencies at once, namely the elimination of the use of others. This paper presents a sociolinguistic approach of contemporary Romanian greetings, based on prosodic surveys in two research projects: AMPRom, and SoRoEs. Romanian language presents a rich inventory of questions (especially partial interrogatives questions/WH-Q) which are used as greetings, alone or, more commonly accompanying a proper greeting. The representative of the typical formulae is Ce mai faci? (How are you?), which, unlike its English counterpart How do you do?, has not become a stereotype, but retains an obvious emotional impact, while serving as a mark of sociolinguistic group. The analyzed corpus consists of structures containing greetings recorded in the main Romanian cultural (urban) centers. From the methodological point of view, the acoustic analysis of the recorded data is performed using software tools (GoldWave, Praat), identifying intonation patterns related to three sociolinguistics variables: age, sex and level of education. The intonation patterns of the analyzed statements are at the interface between partial questions and typical greetings.
Abstract: For the music composer Myriam Marbe the musical
time and memory represent 2 (complementary) phenomena with
conclusive impact on the settlement of new musical ontologies.
Summarizing the most important achievements of the contemporary
techniques of composition, her vision on the microform presented in
The Concert for Daniel Kientzy, saxophone and orchestra transcends
the linear and unidirectional time in favour of a flexible, multivectorial
speech with spiral developments, where the sound substance
is auto(re)generated by analogy with the fundamental processes of
the memory. The conceptual model is of an archetypal essence, the
music composer being concerned with identifying the mechanisms of
the creation process, especially of those specific to the collective
creation (of oral tradition). Hence the spontaneity of expression,
improvisation tint, free rhythm, micro-interval intonation, coloristictimbral
universe dominated by multiphonics and unique sound
effects, hence the atmosphere of ritual, however purged by the
primary connotations and reprojected into a wonderful spectacular
space. The Concert is a work of artistic maturity and enforces respect,
among others, by the timbral diversity of the three species of
saxophone required by the music composer (baritone, sopranino and
alt), in Part III Daniel Kientzy shows the performance of playing two
saxophones concomitantly. The score of the music composer Myriam
Marbe contains a deeply spiritualized music, full or archetypal
symbols, a music whose drama suggests a real cinematographic
movement.
Abstract: The paper deals with cross-gender and cross-linguistic comparison of pitch characteristics for Tuvinian with two other Turkic languages - Uzbek and Azerbaijani, based on the results of statistical analysis of pitch parameter values and intonation patterns used by male and female speakers.
The main goal of our work is to obtain the ranges of pitch parameter values typical for Tuvinian speakers for the purpose of automatic language identification. We also propose a cross-gender analysis of declarative intonation in the poorly studied Tuvinian language.
The ranges of pitch parameter values were obtained by means of specially developed software that deals with the distribution of pitch values and allows us to obtain statistical language-specific pitch intervals.
Abstract: An emotional speech recognition system for the
applications on smart phones was proposed in this study to combine
with 3G mobile communications and social networks to provide users
and their groups with more interaction and care. This study developed
a mechanism using the support vector machines (SVM) to recognize
the emotions of speech such as happiness, anger, sadness and normal.
The mechanism uses a hierarchical classifier to adjust the weights of
acoustic features and divides various parameters into the categories of
energy and frequency for training. In this study, 28 commonly used
acoustic features including pitch and volume were proposed for
training. In addition, a time-frequency parameter obtained by
continuous wavelet transforms was also used to identify the accent and
intonation in a sentence during the recognition process. The Berlin
Database of Emotional Speech was used by dividing the speech into
male and female data sets for training. According to the experimental
results, the accuracies of male and female test sets were increased by
4.6% and 5.2% respectively after using the time-frequency parameter
for classifying happy and angry emotions. For the classification of all
emotions, the average accuracy, including male and female data, was
63.5% for the test set and 90.9% for the whole data set.
Abstract: In this paper, the main principles of text-to-speech synthesis system are presented. Associated problems which arise when developing speech synthesis system are described. Used approaches and their application in the speech synthesis systems for Azerbaijani language are shown.
Abstract: The purposes of this research are to study and develop
the algorithm of Thai spoonerism words by semi-automatic computer
programs, that is to say, in part of data input, syllables are already
separated and in part of spoonerism, the developed algorithm is
utilized, which can establish rules and mechanisms in Thai
spoonerism words for bi-syllables by utilizing analysis in elements of
the syllables, namely cluster consonant, vowel, intonation mark and
final consonant. From the study, it is found that bi-syllable Thai
spoonerism has 1 case of spoonerism mechanism, namely
transposition in value of vowel, intonation mark and consonant of
both 2 syllables but keeping consonant value and cluster word (if
any).
From the study, the rules and mechanisms in Thai spoonerism
word were applied to develop as Thai spoonerism word software,
utilizing PHP program. the software was brought to conduct a
performance test on software execution; it is found that the program
performs bi-syllable Thai spoonerism correctly or 99% of all words
used in the test and found faults on the program at 1% as the words
obtained from spoonerism may not be spelling in conformity with
Thai grammar and the answer in Thai spoonerism could be more than
1 answer.