S~C;KRI~I LIBRARIES 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Phonological Theories Autosegmental/Metrical Phonology
Phonological Theories Autosegmental/Metrical Phonology Session 6 Phonological Theories Non-linear stress allocation Metrical phonology was an approach to word, phrase and sentence-stress definition which (a) defined stress as a syllabic property, not a vowel-inherent feature, and allowed a more flexible treatment of stress patterns in i) different languages, ii) different phrase-prosodic contexts. The prominence relations between syllables are defined by a (binary branching) tree, where the two branches from a node are labelled as dominant (s = strong) and recessive (w = weak) in their relation to each other. Four (quasi-independent) choices (are assumed to) determine the stress patterns that (appear to) exist in natural languages: 1 Right-dominant-foot vs. left-dominant-foot languages 2 Bounded vs. unbounded stress 3 Left-to-right vs. right-to-left word-stress assignment 4 Quantity-sensitive vs. quantity-insensitive languages Phonological Theories Right-dominant vs. left-dominant Languages differ in the tendency for the feet to have the strong syllable on the right or the left: Fr. sympho"nie fantas"tique Engl. "Buckingham "Palace F F F F s s s w w s w w s s w w s w Phonological Theories Bounded vs. unbounded stress (1) “Bounded” (vs. “unbounded”) is a concept that applies to the number of subordinate units that can be dominated by a higher node In metrical phonology it applies usually to the number of syllables that can be dominated by a Foot node (bounded = 2; one strong, one weak syllable to the left or the right; unbounded = no limit). This implies that bounded-stress languages have binary feet. -
Nigel Fabb and Morris Halle (2008), Meter in Poetry
Nigel Fabb and Morris Halle (2008), Meter in Poetry Paul Kiparsky Stanford University [email protected] Linguistics Department, Stanford University, CA. 94305-2150 July 19, 2009 Review (4872 words) The publication of this joint book by the founder of generative metrics and a distinguished literary linguist is a major event.1 F&H take a fresh look at much familiar material, and introduce an eye-opening collection of metrical systems from world literature into the theoretical discourse. The complex analyses are clearly presented, and illustrated with detailed derivations. A guest chapter by Carlos Piera offers an insightful survey of Southern Romance metrics. Like almost all versions of generative metrics, F&H adopt the three-way distinction between what Jakobson called VERSE DESIGN, VERSE INSTANCE, and DELIVERY INSTANCE.2 F&H’s the- ory maps abstract grid patterns onto the linguistically determined properties of texts. In that sense, it is a kind of template-matching theory. The mapping imposes constraints on the distribution of texts, which define their metrical form. Recitation may or may not reflect meter, according to conventional stylized norms, but the meter of a text itself is invariant, however it is pronounced or sung. Where F&H differ from everyone else is in denying the centrality of rhythm in meter, and char- acterizing the abstract templates and their relationship to the text by a combination of constraints and processes modeled on Halle/Idsardi-style metrical phonology. F&H say that lineation and length restrictions are the primary property of verse, and rhythm is epiphenomenal, “a property of the way a sequence of words is read or performed” (p. -
Weirdo Canyon Dispatch 2018
Review: Roadburn Thursday 19th April 2017 By Sander van den Driesche It’s that time of the year again, the After Yellow Eyes it’s straight to the much anticipated annual pilgrimage to Main Stage to see Dark Buddha Rising Tilburg to join with many hundreds of perform with Oranssi Pazuzu as the travellers for Walter’s party at Waste of Space Orchestra, which is Roadburn. As I get off the train the another highly anticipated show, and in heat kicks me right in the face, what a this case one that won’t be played massive difference to the dull and rainy anywhere else (as far as I know). What morning I left behind in Scotland. This happened on that big stage was is glorious weather for a Roadburn phenomenal, we witnessed a near hour Festival! Bring it on! of glorious drone-infused psychedelic proggy doom. In fact, it felt a bit too early for me personally in the timing of the festival to experience such an extraordinarily mind-blowing set, but it was a remarkable collaboration and performance. I can’t wait for the Live at Roadburn release to come out (someone make it happen please!). Yellow Eyes by Niels Vinck After getting my bearings with the new venues, I enter Het Patronaat for the first of my highly anticipated performances of the festival, Yellow Eyes. But after three blistering minutes of ferocious black metal the PA system seems to disagree and we have our first “Zeal & Ardor moment” of 2018. It’s Waste of Space Orchestra by Niels Vinck not even remotely funny to see the On the same Main Stage, Earthless Roadburn crew frantically trying to played the first of their sets as figure out what went wrong, but luckily Roadburn’s artist in residence. -
Comparing PENTA to Autosegmental-Metrical Phonology
Comparing PENTA to Autosegmental-Metrical Phonology Janet B. Pierrehumbert University of Oxford Feb 16, 2017 1 Introduction In this volume, Xu, Prom-on and Liu provide an overview of the recent work on the PENTA (parallel encoding and target approximation) model of prosody. This is a third-generation model of prosody and intonation. In characterizing the model this way, I am taking classic works based on audi- tory transcriptions, such as Bolinger (1958); Trager & Smith (1951); Crystal (1969), as first-generation models, and the autosegmental-metrical models (AM models) launched in the 1970’s and 1980’s as second-generation models. Second-generation models benefited enormously from the rise of computer workstations with specialized software for speech processing, which enabled researchers to examine thousands of f0 contours and to create experimental stimuli in which melodic characteristics of speech were varied in a controlled manner. However, the developers of AM models did not yet have the in- ference and optimization methods that have played such a central role in the development of PENTA. Generative AM algorithms, such as those laid out in Anderson et al. (1984); Beckman & Pierrehumbert (1986), were very seat-of-the pants efforts, compared to the multi-parameter trajectories that are achieved with PENTA. So, we can ask whether PENTA has superseded the AM approach? To what extent has it built on insights of the earlier ap- proach? What aspects of the AM research program remain even now topics for future research? A central issue in addressing these questions is the comparison between prosody and word phonology. AM theory, a development within generative linguistics, had as one of its goals a unified formalism for describing seg- mental, rhythmic, and melodic aspects of speech at both the lexical and the phrasal levels. -
Nr Kat Artysta Tytuł Title Supplement Nośnik Liczba Nośników Data
nr kat artysta tytuł title nośnik liczba data supplement nośników premiery 9985841 '77 Nothing's Gonna Stop Us black LP+CD LP / Longplay 2 2015-10-30 9985848 '77 Nothing's Gonna Stop Us Ltd. Edition CD / Longplay 1 2015-10-30 88697636262 *NSYNC The Collection CD / Longplay 1 2010-02-01 88875025882 *NSYNC The Essential *NSYNC Essential Rebrand CD / Longplay 2 2014-11-11 88875143462 12 Cellisten der Hora Cero CD / Longplay 1 2016-06-10 88697919802 2CELLOSBerliner Phil 2CELLOS Three Language CD / Longplay 1 2011-07-04 88843087812 2CELLOS Celloverse Booklet Version CD / Longplay 1 2015-01-27 88875052342 2CELLOS Celloverse Deluxe Version CD / Longplay 2 2015-01-27 88725409442 2CELLOS In2ition CD / Longplay 1 2013-01-08 88883745419 2CELLOS Live at Arena Zagreb DVD-V / Video 1 2013-11-05 88985349122 2CELLOS Score CD / Longplay 1 2017-03-17 0506582 65daysofstatic Wild Light CD / Longplay 1 2013-09-13 0506588 65daysofstatic Wild Light Ltd. Edition CD / Longplay 1 2013-09-13 88985330932 9ELECTRIC The Damaged Ones CD Digipak CD / Longplay 1 2016-07-15 82876535732 A Flock Of Seagulls The Best Of CD / Longplay 1 2003-08-18 88883770552 A Great Big World Is There Anybody Out There? CD / Longplay 1 2014-01-28 88875138782 A Great Big World When the Morning Comes CD / Longplay 1 2015-11-13 82876535502 A Tribe Called Quest Midnight Marauders CD / Longplay 1 2003-08-18 82876535512 A Tribe Called Quest People's Instinctive Travels And CD / Longplay 1 2003-08-18 88875157852 A Tribe Called Quest People'sThe Paths Instinctive Of Rhythm Travels and the CD / Longplay 1 2015-11-20 82876535492 A Tribe Called Quest ThePaths Low of RhythmEnd Theory (25th Anniversary CD / Longplay 1 2003-08-18 88985377872 A Tribe Called Quest We got it from Here.. -
Order Form Full
JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE -
The Learnability of Metrical Phonology
The Learnability of Metrical Phonology Published by LOT phone: +31 30 253 6006 Janskerkhof 13 fax: +31 30 253 6406 3512 BL Utrecht e-mail: [email protected] The Netherlands http://wwwlot.let.uu.nl/ Cover illustration by Diana Apoussidou ISBN 978-90-78328-18-6 NUR 632 Copyright © 2007: Diana Apoussidou. All rights reserved. THE LEARNABILITY OF METRICAL PHONOLOGY ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof.mr. P.F. van der Heijden ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Aula der Universiteit op dinsdag 9 januari 2007, te 14.00 uur door Diana Apoussidou geboren te Mönchengladbach, Duitsland Promotiecommissie Promotor: prof. dr. P.P.G. Boersma Overige commissieleden: prof. dr. H.M.G.M. Jacobs prof. dr. R.W.J. Kager dr. W. Kehrein dr. N.S.H. Smith prof. dr. P. Smolensky Faculteit der Geesteswetenschappen Acknowledgements I consider myself very lucky to have had the support when writing this thesis, whether directly or indirectly, from the following people: Essential to starting and finishing this work is Paul Boersma. I thank him for his support as much as for challenging me, and for enabling me to push the limits. I thank my reading committee Haike Jacobs, René Kager, Wolfgang Kehrein, Norval Smith, and Paul Smolensky for their valuable comments; especially Wolfgang and Norval for enduring tedious questions about phonology. My paranymphs Maren Pannemann and Petra Jongmans never failed in supporting me; they prevented me from going nuts in quite some moments of panic. -
Razorcake Issue #25 As A
ot too long ago, I went to visit some relatives back in Radon, the Bassholes, or Teengenerate, during every spare moment of Alabama. At first, everybody just asked me how I was my time, even at 3 A.M., was often the only thing that made me feel N doing, how I liked it out in California, why I’m not mar- like I could make something positive out of my life and not just spend N it mopping floors. ried yet, that sort of thing. You know, just the usual small talk ques- tions that people feel compelled to ask, not because they’re really For a long time, records, particularly punk rock records, were my interested but because they’ll feel rude if they don’t. Later on in the only tether to any semblance of hope. Growing up, I was always out of day, my aunt started talking to me about Razorcake, and at one point place even among people who were sort of into the same things as me. she asked me if I got benefits. It’s probably a pretty lame thing to say, but sitting in my room listen- I figured that it was pretty safe to assume that she didn’t mean free ing to Dillinger Four or Panthro UK United 13 was probably the only records and the occasional pizza. “You mean like health insurance?” time that I ever felt like I wasn’t alone. “Yeah,” she said. “Paid vacation, sick days, all that stuff. But listening to music is kind of an abstract. -
Speech Errors and Phonological Patterns: Insights from Psycholinguistic and Linguistic Theory
Speech errors and phonological patterns: Insights from psycholinguistic and linguistic theory John Alderete Simon Fraser University ABSTRACT. In large collections of speech errors, phonological patterns emerge. Speech errors are shaped by phonotactic constraints, markedness, frequency, and phonological representations of prosodic and segmental structure. While insights from both linguistic theory and psycholinguistic models have been brought to bear on these facts, research on the phonological patterns of speech errors rarely attempts to compare analyses from these different perspectives, much less integrate them in a coherent system. This article investigates the phonological patterns in the SFU Speech Error Database (SFUSED) with these goals in mind. In particular, it examines the impact of language particular phonotactics on speech errors and the role of linguistic representations for syllables and tone. The empirical findings support a model that includes both production processes impacted by frequency and explicit representations of tone from phonological theory. Keywords: speech errors, language production, methodology, phonotactics, tone, English, Cantonese 1. Introduction The scientific study of speech errors is chock-full of facts of interest to phonologists. That is, when examining sufficiently large collections of speech errors, certain phonological generalizations emerge. For example, there is the syllable position constraint, according to which sounds slip into the same syllabic positions as their source words (Boomer and Laver 1968; Fromkin 1971), as leading list for reading list. Sound errors also exhibit the phonological similarity effect (Cutler 1980; Dell and Reich 1981), in that intended and error sounds tend to be phonologically similar. Another pattern is the repeated phoneme effect (Dell 1984; MacKay 1970): spoonerisms like heft lemisphere (from left hemisphere) illustrate this tendency for sound errors to share a phonological context (e.g., _ɛ) in both the intended and source words. -
The Tune Drives the Text - Competing Information Channels of Speech Shape Phonological Systems
The tune drives the text - Competing information channels of speech shape phonological systems Cite as: Roettger, Timo B. & Grice, Martine (2019). The tune drives the text - Competing information channels of speech shape phonological systems. Language Dynamics and Change, 9(2), 265–298. DOI: 10.1163/22105832-00902006 Abstract In recent years there has been increasing recognition of the vital role of intonation in speech communication. While contemporary models represent intonation – the tune – and the text that bears it on separate autonomous tiers, this paper distils previously unconnected findings across diverse languages that point to important interactions between these two tiers. These interactions often involve vowels, which, given their rich harmonic structure, lend themselves particularly well to the transmission of pitch. Existing vowels can be lengthened, new vowels can be inserted and loss of their voicing can be blocked. The negotiation between tune and text ensures that pragmatic information is accurately transmitted and possibly plays a role in the typology of phonological systems. Keywords: Intonation, epenthesis, devoicing, lengthening, phonological typology Acknowledgment Funding from the German Research Foundation (SFB 1252 Prominence in Language) is gratefully acknowledged. We would like to thank Aviad Albert, James German, Márton Sóskuthy, and Andy Wedel for their comments on earlier drafts of this manuscript. We would like to thank the Departments of Linguistics at the University of Cologne, the Goethe University in Frankfurt, Northwestern University in Evanston, the Institute of Phonetics and Speech Processing at the University of Munich, and the audience of XLanS in Lyon for their valuable input on this project. Finally, we would like to express our gratitude to three anonymous reviewers and the editor Jeff Good for their comments during the review process. -
Sfareapainteroral00sperrich.Pdf
University of California Bancroft Library/Berkeley Regional Oral History Office Albert Sperisen SAN FRANCISCO AREA PRINTERS, 1925-1965 An Interview Conducted by Ruth Teiser Berkeley 1966 Albert Sperisen, photographed at his desk at Foote, Cone & Belding, 1960 Publication rights reserved by Catherine Harroun San Francisco Chronicle, July 19, 1999 Albert on the Dollar Steamship and South mous donor. Mr. Sperisen was then Sperisen ern Pacific accounts. named club librarian, a post he held A memorial service has been In 1935, he earned a national rep at the time of his death. Today, the scheduled in San Francisco on Au utation in the graphic arts world by library includes about 2,000 rare vol a national gust 2 for Albert Sperisen. A long winning typographical umes. contest time San Francisco advertising ex sponsored by the American During his lifetime, Mr. Sperisen ecutive who was widely known as Institute of Graphic Arts in New also assembled a prodigious book York. the Dean of San Francisco print collection of his own. In 1958, Stan That same the first book he ford >roduction," Mr. Sperisen died May- year, University made him honorary was named one of the 1 5 at the University of California at designed Curator of Typography. His fine San Francisco Medical Center after year s 50 best-designed books an printing collection is now housed fall in his Richmond District honor he was to receive four times. there. lome. He was 90. In 1939, Mr. Sperisen became as His gifts and collected works of sociated with Mr. Sperisen was a former Foote, the prestigious Colt art are now found, as well, at Clark Press as a Cone & fielding executive and bib- book designer, and he Library at the University of Califor went on to iophile who became better known form two private presses, nia at Los Angeles and at the Glee- after his retirement as the librarian the Toyon Press and the Penguin son Library at the University of San of the Book Club of California, as Press. -
Book 48.4.Indb
LANGUAGEP. ANDPrieto, SPEECH, M. D’Imperio, 2005, 48 and (4), B. 359 Gili –396Fivela 359 Pitch Accent Alignment in Romance: Primary and Secondary Associations with Metrical Structure Pilar Prieto1, Mariapaola D’Imperio2, Barbara Gili Fivela3 1 Institució Catalana de la Recerca i Estudis Avançats (ICREA) and Universitat Autònoma de Barcelona (UAB), Spain 2 Laboratoire Parole et Langage, UMR 6057 CNRS, Aix-en Provence, France 3 Universitá degli Studi di Lecce, Italy Key words Abstract The article describes the contrastive possibilities of alignment of high accents phonological representation in three Romance varieties, namely, Central Catalan, Neapolitan Italian, of pitch accents and Pisa Italian. The Romance languages analyzed in this article provide crucial evidence that small differences in alignment in rising accents should be encoded phonologically. To account for such facts within the AM model, the primary and article develops the notion of “phonological anchoring” as an extension of secondary the concept of secondary association originally proposed by Pierrehumbert association of tones and Beckman (1988), and later adopted by Grice (1995), Grice, Ladd, and Arvaniti (2000), and others to explain the behavior of edge tones. The Romance data represent evidence that not only peripheral edge tones seek tonal alignment secondary associations. We claim that the phonological representation of Acknowledgments: The article develops some materials and ideas presented by the first author at the Workshop on Intonation in Language Varieties organized by P. Warren and P. Vermillion as a Satellite Meeting to the 15th International Congress of Phonetic Sciences (Barcelona, August 2003) and at the 2004 ESF Workshop on Typology of Tone and Intonation (Cascais, April 2004).