A Typology of Stress Systems
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Lilypond Music Glossary
LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.23.3. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2021 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.23.3 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players. -
The New Dictionary of Music and Musicians
The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo ries and polyphonic music. IV. Modal scales and folk song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes. -
Criminal Obsessions: Why Harm Matters More Than Crime
Second edition Criminal obsessions: Why harm matters more than crime Danny Dorling Dave Gordon Paddy Hillyard Christina Pantazis Simon Pemberton Steve Tombs Harm and Society About the Authors Edited by Will McMahon Danny Dorling is Professor of Human Geography at the University of Sheffield. Our thanks go to Catriona Foote and Tammy McGloughlin for their assistance in producing Dave Gordon is Professor of Social Justice at this book. the University of Bristol. Centre for Crime and Justice Studies Paddy Hillyard is Professor of Sociology at King’s College London Queen’s University, Belfast. Strand London WC2R 2LS Christina Pantazis is senior lecturer at the Tel: 020 7848 1688 University of Bristol. Fax: 020 7848 1689 Simon Pemberton is lecturer in social policy [email protected] at the University of Bristol www.crimeandjustice.org.uk Steve Tombs is Professor of Sociology at A project of the Centre for Crime Liverpool John Moores University. and Justice Studies (ISTD), School of Law, King’s College London. The views expressed in this document are Registered Charity No 251588 those of the authors and not necessarily A Company Limited by Guarantee those of the Centre for Crime and Justice Registered in England No 496821 Studies. © Paddy Hillyard, Christina Pantazis, Dave Gordon and Steve Tombs Acknowledgements September 2005 The Centre for Crime and Justice Studies © Simon Pemberton September 2008 would like to thank the authors for their permission to reproduce and edit the four essays in this book which originally appeared ISBN 978-1-906003-14-2 in Hillyard, P., Pantazis, C., Tombs, S. and Gordon, D.(eds)(2004) Beyond Criminology. -
Gregorian Chant
CATHOLIC EDUCATION SERIES MUSIC FOURTH YEAR GREGORIAN CHANT THE CATHOLIC EDUCATION SERIES MUSIC FOURTH YEAR CHILDREN'S MANUAL GREGORIAN CHANT according to the principles of DOM ANDRE MOCQUEREAU OF SOLESMES BY JUSTINE WARD THE CATHOLIC EDUCATION PRESS WASHINGTON, D. C. PRINTED IN U. S. A. NlHIL OBSTAT January 7th, 1923, Baltimore, Md. LEO P. MANZETTI, Mus. D. Censor Deputatus IMPRIMATUR MICHAEL J. CURLEY Archbishop of Baltimore ALL RIGHTS OF REPRODUCTION, TRANSLATION AND ADAPTATION RESERVED FOR ALL COUNTRIES INCLUD- ING RUSSIA A MON CHER ET VÉNÉRÉ MAITRE DOM ANDRE MOCQUEREAU QUI A RENDU LES AILES A LA COLOMBE DE SAINT GRÉGOIRE INTRODUCTION BY DOM MOCQUEREAU Bien chère Madame J. Ward, Very dear Mrs. Ward, Vous me demandez de presenter au You have asked me to introduce to public américain votre premier livre sur the American public your first book on le Chant Grégorien,« Gregorian Chant» Gregorian Chant, the fourth volume of — le quatrième de votre série rnusicale— your series of Music Text-books pre- destine aux enfants fréquentant les pared for the use of the children in the Ecoîes Catholiques. J'accepte avec Catholic schools of the United States. d'autant plus de joie, que c'est pour moi I accept with all the more pleasure l'occasion de témoigner ouvertement et because it gives me an opportunity of la haute estime que je professe pour expressing publicly the high esteem \\\ votre enseignement et, en même temps, which I hold your method as well as la reconnaissance profonde que je vous the gratitude I feel toward you. I will dois. Je m'expìique. -
Part 1: Introduction to The
PREVIEW OF THE IPA HANDBOOK Handbook of the International Phonetic Association: A guide to the use of the International Phonetic Alphabet PARTI Introduction to the IPA 1. What is the International Phonetic Alphabet? The aim of the International Phonetic Association is to promote the scientific study of phonetics and the various practical applications of that science. For both these it is necessary to have a consistent way of representing the sounds of language in written form. From its foundation in 1886 the Association has been concerned to develop a system of notation which would be convenient to use, but comprehensive enough to cope with the wide variety of sounds found in the languages of the world; and to encourage the use of thjs notation as widely as possible among those concerned with language. The system is generally known as the International Phonetic Alphabet. Both the Association and its Alphabet are widely referred to by the abbreviation IPA, but here 'IPA' will be used only for the Alphabet. The IPA is based on the Roman alphabet, which has the advantage of being widely familiar, but also includes letters and additional symbols from a variety of other sources. These additions are necessary because the variety of sounds in languages is much greater than the number of letters in the Roman alphabet. The use of sequences of phonetic symbols to represent speech is known as transcription. The IPA can be used for many different purposes. For instance, it can be used as a way to show pronunciation in a dictionary, to record a language in linguistic fieldwork, to form the basis of a writing system for a language, or to annotate acoustic and other displays in the analysis of speech. -
An Instrumental Study of Vowel Reduction and Stress Placement in Spanish-Accented English
SSLA. 11. 35-62. Printed in the United States of America. -------- -.- AN INSTRUMENTAL STUDY OF VOWEL REDUCTION AND STRESS PLACEMENT IN SPANISH-ACCENTED ENGLISH James Emil Flege Ocke-Schwen Bohn University of Alabama, Birmingham Morphophonological alternations in English words such as able versus ability involve changes in both stress and vowel quality. This study examined how native speakers of Spanish and English produced four such morphologically related English word pairs. Degree of stress and vowel quality was assessed auditorily and instrumentally. Stress placement generally seemed to constitute less of a learning problem for the native Spanish speakers than vowel reduction. The results suggest that Englishlike stress placement is acquired earlier than vowel reduction and that the ability to unstress vowels is a necessary, but not sufficient, condition for vowel reduction. The magnitude of stress and vowel quality differences for the four word pairs suggests that L2 learners acquire stress placement and vowel reduction in English on a word-by-word basis. INTRODUCTION Many second language (12) learners retain a foreign accent long after achieving proficiency in other aspects of 12 production. A foreign accent may result from segmental substitutions of replica for model sounds as well as non-12-like rhythmic, intonational, and stress patterns (Flege, )984). Even though it is generally agreed that This study was supported by NIH grant NS20963-04. The authors would like to thank Sherry Sutphin for fabricating the pseudopalates and for data analysis. ~ 1969 Cambridge Univenity Press OZ7Z·Z63 1/69 $5.00 + .00 3S 36 James Emil Flege and Ocke-Schwen Bohn the use of full instead of reduced vowels in unstressed syllables may contribute impor• tantly to foreign accent and this phenomenon "is extremely typical" (Hammond, 1986) in Spanish-accented English, to our knowledge it has never been examined empirically. -
National Conference on Science and the Law Proceedings
U.S. Department of Justice Office of Justice Programs National Institute of Justice National Conference on Science and the Law Proceedings Research Forum Sponsored by In Collaboration With National Institute of Justice Federal Judicial Center American Academy of Forensic Sciences National Academy of Sciences American Bar Association National Center for State Courts NATIONAL CONFERENCE ON SCIENCE AND THE LAW Proceedings San Diego, California April 15–16, 1999 Sponsored by: National Institute of Justice American Academy of Forensic Sciences American Bar Association National Center for State Courts In Collaboration With: Federal Judicial Center National Academy of Sciences July 2000 NCJ 179630 Julie E. Samuels Acting Director National Institute of Justice David Boyd, Ph.D. Deputy Director National Institute of Justice Richard M. Rau, Ph.D. Project Monitor Opinions or points of view expressed in this document are those of the authors and do not necessarily reflect the official position of the U.S. Department of Justice. The National Institute of Justice is a component of the Office of Justice Programs, which also includes the Bureau of Justice Assistance, Bureau of Justice Statistics, Office of Juvenile Justice and Delinquency Prevention, and Office for Victims of Crime. Preface Preface The intersections of science and law occur from crime scene to crime lab to criminal prosecution and defense. Although detectives, forensic scientists, and attorneys may have different vocabularies and perspectives, from a cognitive perspective, they share a way of thinking that is essential to scientific knowledge. A good detective, a well-trained forensic analyst, and a seasoned attorney all exhibit “what-if” thinking. This kind of thinking in hypotheticals keeps a detective open-minded: it prevents a detective from ignoring or not collecting data that may result in exculpatory evidence. -
Tone, Intonation, Stress and Duration in Navajo
Tone, intonation, stress and duration in Navajo Item Type text; Article Authors Kidder, Emily Publisher University of Arizona Linguistics Circle (Tucson, Arizona) Journal Coyote Papers: Working Papers in Linguistics, Linguistic Theory at the University of Arizona Rights http://rightsstatements.org/vocab/InC/1.0/ Download date 25/09/2021 21:50:14 Item License Copyright © is held by the author(s). Link to Item http://hdl.handle.net/10150/126405 Tone, Intonation, Stress and Duration in Navajo Emily Kidder University of Arizona Abstract 1 Introduction The phonological categories of tone, stress, duration and intonation interact in interesting and complex ways in the world’s languages. One reason for this is that they all use the phonetic cues of pitch and duration in different ways in order to be understood as phonologically meaningful. The Navajo language has unique prosodic characteristics that make it particularly valuable for the study of how pitch and duration interact on a phonological level. Navajo is a tonal language, and also has phonemic length, however, the existence of prosodic elements such as intonation and stress have been a matter of debate among scholars (De Jong and McDonough, 1993; McDonough, 1999). In- tonation has been assumed to be a universal characteristic, present in tonal and non-tonal languages alike, though evidence to the contrary has been pre- sented (Connell and Ladd, 1990; Laniran, 1992; McDonough, 2002). Stress or accent is similarly thought to be a manifested on some level in all lan- guages, even when it is not used contrastively (Hayes, 1995). In this paper I explore the evidence available for whether or not stress and intonation exists in Navajo. -
Pronunciation Notes (PDF)
Pronunciation Notes for the Pronouncing Dictionary of the Supreme Court of the United States Jason A. Zentz IPA Garner Examples IPA Garner Examples p p pie, pea i ee heed, bead b b by, bee ɪ i hid, bid t t tie, tea eɪ ay hate, bait d d die, D ɛ e head, bed k k buckeye, key æ a had, bad ɡ g guy, foggy ɑ ah ha, baa ʔ (none)1 uh-uh, Hawaiʻi ɑ ah2 hot, body tʃ ch chai, cheetah ɔ aw hawed, bawd dʒ j jive, G oʊ oh hoed, bode f f fie, fee ʊ uu hood, book v v vie, V u oo whoʼd, booed θ th thigh, theme ə ə ahead, aboard ð th thy, thee ʌ ə Hudson, bud s s sigh, sea aɪ ɪ hide, bide z z Zaire, Z aʊ ow howʼd, bowed ʃ sh shy, she ɔɪ oi ahoy, boy ʒ zh vision, regime iɹ eer here, beard χ kh3 chutzpah ɛɹ air hair, bared h h high, he ɑɹ ahr hard, bard m m my, me ɔɹ or horde, board n n nigh, knee uɹ oor poor, boor ŋ ng rang, clingy əɹ ər herd, bird, over l l lie, Lee ɹ r rye, reed w w wide, we hw hw why, which j y yes, ye 1 For Americanized pronunciations that include the glottal stop, it is represented in our IPA transcriptions but not our Garner transcriptions. 2 Garner (2009a,b, 2011) distinguishes between IPA /ɑ/ and /ɒ/, giving /ah/ for the former and /o/ for the latter. -
49 Stress-Timed Vs. Syllable- Timed Languages
TBC_049.qxd 7/13/10 19:21 Page 1 49 Stress-timed vs. Syllable- timed Languages Marina Nespor Mohinish Shukla Jacques Mehler 1Introduction Rhythm characterizes most natural phenomena: heartbeats have a rhythmic organization, and so do the waves of the sea, the alternation of day and night, and bird songs. Language is yet another natural phenomenon that is charac- terized by rhythm. What is rhythm? Is it possible to give a general enough definition of rhythm to include all the phenomena we just mentioned? The origin of the word rhythm is the Greek word osh[óp, derived from the verb oeí, which means ‘to flow’. We could say that rhythm determines the flow of different phenomena. Plato (The Laws, book II: 93) gave a very general – and in our opinion the most beautiful – definition of rhythm: “rhythm is order in movement.” In order to under- stand how rhythm is instantiated in different natural phenomena, including language, it is necessary to discover the elements responsible for it in each single case. Thus the question we address is: which elements establish order in linguistic rhythm, i.e. in the flow of speech? 2The rhythmic hierarchy: Rhythm as alternation Rhythm is hierarchical in nature in language, as it is in music. According to the metrical grid theory, i.e. the representation of linguistic rhythm within Generative Grammar (cf., amongst others, Liberman & Prince 1977; Prince 1983; Nespor & Vogel 1989; chapter 43: representations of word stress), the element that “establishes order” in the flow of speech is stress: universally, stressed and unstressed positions alternate at different levels of the hierarchy (see chapter 40: stress: phonotactic and phonetic evidence). -
Stress Chapter
Word stress in the languages of the Caucasus1 Lena Borise 1. Introduction Languages of the Caucasus exhibit impressive diversity when it comes to word stress. This chapter provides a comprehensive overview of the stress systems in North-West Caucasian (henceforth NWC), Nakh-Dagestanian (ND), and Kartvelian languages, as well as the larger Indo-European (IE) languages of the area, Ossetic and (Eastern) Armenian. For most of these languages, stress facts have only been partially described and analyzed, which raises the question about whether the available data can be used in more theoretically-oriented studies; cf. de Lacy (2014). Instrumental studies are not numerous either. Therefore, the current chapter relies mainly on impressionistic observations, and reflects the state of the art in the study of stress in these languages: there are still more questions than answers. The hope is that the present summary of the existing research can serve as a starting point for future investigations. This chapter is structured as follows. Section 2 describes languages that have free stress placement – i.e., languages in which stress placement is not predicted by phonological or morphological factors. Section 3 describes languages with fixed stress. These categories are not mutually exclusive, however. The classification of stress systems is best thought of as a continuum, with fixed stress and free stress languages as the two extremes, and most languages falling in the space between them. Many languages with fixed stress allow for exceptions based on certain phonological and/or morphological factors, so that often no firm line can be drawn between, e.g., languages with fixed stress that contain numerous morphologically conditioned exceptions (cf. -
I ' Pyrrhic Stress
" QUANTITATIVE IMPLICATIONS OF THE I ' PYRRHIC STRESS ESPECIALLY IN PLAUTUS AND_TERENCE I “’ BY . LINWOOD LEHMAN A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF VIRGINIA 1924 ._» '7ufu: U ‘x’; U. Va. Damn! Dissertan J a "I ‘33 43601.4 Contents page PART I 7-22 Introducrion - - - ~ - - - - - The Tripudic Theory - - - - - ~ - 11 Introductory Remarks - - - - - - - ll The Tripudic Accentuctl System - - - - 12 .— Further Remarks on the Tripudic Accentual System - 13 The Beginning of the Penultimate Law - - - 14 m.— The Tripudium - - - - - - - - IS The Pynhic Stress - - - - - - - 20 “.v. Necessary Alternation and Coincidence of Accent and lcrus 20 PART II 23-68 . Explanation of Division of Examples 25 Textual Restoration, etc. - - - - - - 28 Manifestations of the Pyrthic Stress - - - - 3O Amphicruo - ~ - - - - - - - 32 Aulula'ria - - - - - - - - - 33 Bacchides - - ' - - ~ - - - - 35 Captiuir - . - - - - - - - 37 Menaechmi - - - - - - - - - 39 Miles Gloriosus - - - - - - - 4-1 Mostellan'a - - - - - - - - Pseudolus - - - - - - - - Rudens - - - - - - - - - Trinummus - - - - - - - - 50 Adelphoe - - - - - - - - - 53 Andria - - - - - ~ - - Eunuchus - - - - - - - - 56 Heauton ‘I'imorumenos - - - - - 57 Hecyra - - ~ - - - - 59 Phrmio - - - — - - - - 61 Piautina Addenda - - - - ~ - 63 Miscellanea - - - - - . - ~67 PART III 69-75 The Iambic Law -- - . - - - 69 Synizesis - - - - - - - _ -70 Lengthening - - - - - . _ . 71 Shortening - - - - - - - 72 . - - _ Nempe, Ille, Quippe, etc. - . 74 Final 5 - - - - .. - - 75 A Mute plus L or R - - -