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Some influences of subjective tones in monaural tone−on−tone masking
The Journal of the Acoustical Society of America, 1975The influences of subjective phenomena upon measurements of monaural tone−on−tone masking not only effects interpretations of sensitivity changes but may yield information about the underlying distortion mechanisms. The paradigm analyzed here involves simultaneous presentation of two pure tones: the masker (ωr) at fixed amplitude (α) and an interrupted
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2020
AbstractThe vast majority of African languages are tonal, and they have played a major role in the formation of theories of tone, especially since the advent of autosegmental tonology. Spread and shift of tone, floating tones and tone melodies, and downstep are well-documented properties of African tone, manifesting the fact that tones owe little ...
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AbstractThe vast majority of African languages are tonal, and they have played a major role in the formation of theories of tone, especially since the advent of autosegmental tonology. Spread and shift of tone, floating tones and tone melodies, and downstep are well-documented properties of African tone, manifesting the fact that tones owe little ...
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2021
This study was undertaken in an attempt to define toning more clearly and establish a theoretical basis for future research. The acoustic, physiologic, and psychologic parameters of spontaneous and sustained self-generated vocal sound were investigated. Findings indicate that there is a measurable vibration which radiates from the vocal apparatus which
Margaret Deak, Paul Nolan
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This study was undertaken in an attempt to define toning more clearly and establish a theoretical basis for future research. The acoustic, physiologic, and psychologic parameters of spontaneous and sustained self-generated vocal sound were investigated. Findings indicate that there is a measurable vibration which radiates from the vocal apparatus which
Margaret Deak, Paul Nolan
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2017
Chapter 8 uses the multifaceted term “tones” to explain the expressive role of texts that were produced as part of a growing publication industry to record and circulate various sermons in prose and verse that reflected a master’s awakened state of mind beyond logical thinking.
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Chapter 8 uses the multifaceted term “tones” to explain the expressive role of texts that were produced as part of a growing publication industry to record and circulate various sermons in prose and verse that reflected a master’s awakened state of mind beyond logical thinking.
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2002
The sounds of language can be divided into consonants, vowels, and tones - the use of pitch to convey word meaning. Seventy percent of the world's languages use pitch in this way. Assuming little or no prior knowledge of the topic, this textbook provides a clearly organized introduction to tone and tonal phonology.
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The sounds of language can be divided into consonants, vowels, and tones - the use of pitch to convey word meaning. Seventy percent of the world's languages use pitch in this way. Assuming little or no prior knowledge of the topic, this textbook provides a clearly organized introduction to tone and tonal phonology.
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Proceedings of the Workshop on Challenges and Opportunities of Efficient and Performant Storage Systems, 2022
Yong Zhang, Xinran Xiong, Oana Balmau
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Yong Zhang, Xinran Xiong, Oana Balmau
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1999
Abstract An account of the primary elements of the musical experience, arguing that rhythm, accent, melody, harmony, and movement are all features of the intentional object of musical perception (‘tone’) but not features of the material object (‘sound’) in which that intentional object is heard.
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Abstract An account of the primary elements of the musical experience, arguing that rhythm, accent, melody, harmony, and movement are all features of the intentional object of musical perception (‘tone’) but not features of the material object (‘sound’) in which that intentional object is heard.
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2016
When the phonological form of a morpheme—a unit of meaning that cannot be decomposed further into smaller units of meaning—involves a particular melodic pattern as part of its sound shape, this morpheme is specified for tone. In view of this definition, phrase- and utterance-level melodies—also known as intonation—are not to be interpreted as instances
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When the phonological form of a morpheme—a unit of meaning that cannot be decomposed further into smaller units of meaning—involves a particular melodic pattern as part of its sound shape, this morpheme is specified for tone. In view of this definition, phrase- and utterance-level melodies—also known as intonation—are not to be interpreted as instances
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