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Tench provides an introduction to the current state of functional linguistics studies in the intonation of English. Intended not only for students of linguistics and English language, the book also contains information ideal for consideration by language teachers, speech therapists, drama students and other professions that rely heavily upon the spoken word.
The volume introduces a system for the multilingual transcription of intonation patterns, and the chapters are organized with the same general outline to highlight the differences between languages. The emphasis is on description and comparison, rather than on theory.
CelloMind is a two-part pedagogical method book that focuses on intonation and left-hand cello technique. The coauthors of the book are Hans Jørgen Jensen, Professor of cello at the Bienen School of Music at Northwestern University and Minna Rose Chung, Associate Professor of Cello at the Desautels Faculty of Music at the University of Manitoba. Part I: Intonation. The mystery of intonation is revealed by defining and explaining the scientific principles that govern it. To know and understand how to combine the three primary intonation systems has never before been expounded in a methodology publication--and for good reason. Playing with exquisite intonation has mostly been reserved for those who possess a strong intuitive sense; however, CelloMind breaks down this taboo using a systematic approach with a highly attuned manner. The three systems of intonation that string players most commonly use today--equal temperament, just intonation, and Pythagorean tuning--are each explored and explained in great detail. All chapters in the book include many practical samples and listening exercises that bridge the gap between the theory and its application. The chapters on intonation conclude with practical examples from the following repertoire: "Intonation Performance Practice in the Bach Solo Cello Suites" and "Intonation Performance Practice with Piano." Part II: Left-Hand Technique. The left-hand technique chapters in this section complement the study of intonation by providing a solid foundation of skills for essential cello playing. The topics and exercises have been selected to cover a wide range of technical skills that include playing with a light left-hand touch, speed, coordination, balanced vibrato, agility, finger independence, and efficient shifting. Original exercises developed for students over many years have also been incorporated into these chapters, as well as studies from Julius Klengel, Bernhard Cossmann, Louis R. Feuillard, Jean-Louis Duport, Yakov Rosenthal, and Fritz Albert Christian Rudinger.
"A fascinating and genuinely accessible guide....Educating, enjoyable, and delightfully unscary."—Classical Music What if Bach and Mozart heard richer, more dramatic chords than we hear in music today? What sonorities and moods have we lost in playing music in "equal temperament"—the equal division of the octave into twelve notes that has become our standard tuning method? Thanks to How Equal Temperament Ruined Harmony, "we may soon be able to hear for ourselves what Beethoven really meant when he called B minor 'black'" (Wall Street Journal).In this "comprehensive plea for more variety in tuning methods" (Kirkus Reviews), Ross W. Duffin presents "a serious and well-argued case" (Goldberg Magazine) that "should make any contemporary musician think differently about tuning" (Saturday Guardian). Some images in the ebook are not displayed owing to permissions issues.
This handbook presents detailed accounts of current research in all aspects of language prosody, written by leading experts from different disciplines. The volume's comprehensive coverage and multidisciplinary approach will make it an invaluable resource for all researchers, students, and practitioners interested in prosody.
ViolinMind is a pedagogical method book that focuses on intonation. It is a transcription for the violin of CelloMind published in 2017 by Ovation Press, Ltd. The co-authors of ViolinMind are Hans Jørgen Jensen, Professor of Cello at the Bienen School of Music at Northwestern University and Grigory Kalinovsky, Professor of Music (Violin) at Indiana University Jacobs School of Music. The mystery of intonation is dissected by defining the scientific principles behind it, and providing easy, intuitive examples of the three main kinds of intonation systems used today: Equal Temperament, Just, and Pythagorean. Playing with exquisite intonation has mostly been reserved for those who possess a strong intuitive sense of pitch and harmonic color; however, ViolinMind breaks down this barrier using a highly detailed, systematic approach, making the process of acquiring a sophisticated sense of intonation similar to any other technical skill. Chapters in the book explore in great detail topics such as the harmonic overtone series, the scientific principles behind Cents, the syntonic comma, the just scales, the Pythagorean comma, the Pythagorean semitones, advanced sympathetic vibrations, Tartini tones, and double stops studies in tritones. All chapters in the book include numerous practical samples and listening exercises that bridge the gap between the theory and its application. The chapters on intonation conclude with practical examples from the following repertoire: intonation performance practice in the Bach Sonatas and Partitas for Violin Solo (BWV 1001-1006), and intonation performance practice with piano. The appendices in the book provide detailed explanations about the Helmholtz intonation chart, the harmonic series, just intonation, the Schisma, as well as an illustration of two violin fingerboards from two method books from the 18th century showing pitch distribution for just intonation and Pythagorean intonation respectively.
The book is the first to apply David Brazil s Discourse Intonation systems (prominence, tone, key and termination) to the study of a corpus of authentic, naturally-occurring spoken discourses. The Hong Kong Corpus of Spoken English (prosodic) is made up of approximately one million words consisting of four sub-corpora of equal size, namely academic, conversation, business and public. The participants are all adults and typically have either Cantonese or English as their first language. The four Discourse Intonation systems are described in terms of how the system works and how they are manifested in the corpus, both across the sub-corpora and also across speakers in the corpus. The book is accompanied with a CD containing the prosodically transcribed corpus together with iConc which is the software designed and written specifically to interrogate the HKCSE (prosodic). The issues raised and discussed are all of importance in Conversation Analysis, Corpus Linguistics, Discourse Analysis, Discourse Intonation, Pragmatics, and Intercultural Communication.
The revised edition of David Brazil's seminal work The Communicative Value of Intonation in English.
"It's not what she said, it's the way that she said it," is a complaint we have all heard (or made) some time or another. What does it refer to? It obviously relates to the various forms of wordless communication, but especially to the speaker's use of intonation—the rise and fall of the pitch of the voice—to convey sarcasm or resignation, anger or apprehension, or any of scores of other moods. In this summation of over forty years of investigation and reflection, the author analyzes the nature, variety and utility of intonation, using some 700 examples from everyday English speech. The work looks at both accent (pitch shift that points up individual words) and overall configurations (melodies that shape the meaning of whole sentences). It shows that most easily understood utterances employ one or another of a surprisingly small stock of basic melodies, and it shows both intonation and visible gesture to be parts of a larger complex that conveys grammatical as well as emotional information. Though it is one of the major divisions of the science of linguistics, intonation is of great interest to others outside of linguistics—to actors and lawyers who must use the voice to assert, to downplay, or to emote; to English teachers as an essential ingredient of idiomatic speech; to musicians for its many common elements in music theory; and to psychologists and anthropologists as a gauge of emotional tension and a clue to behavior.
ANTONIS BOTINIS 1. 1 Background This introduction provides essential information about the structure and the objects of study of this volume. Following the introduction, fourteen papers which represent current research on intonation are organised into five thematic sections: (I) Overview of Intonation, (II) Prominence and Focus, (III) Boundaries and Discourse, (IV) Intonation Modelling, and (V) Intonation Technology. Within the sections the papers are arranged thematically, although several papers which deal with various aspects of intonation and prosody are basically intersectional. As the title indicates, "Intonation: Analysis, Modelling and Technology" is a contribution to the study of prosody, with major emphasis on intonation. Intonation and tonal themes are thus the central object of the volume, although temporal and dynamic aspects are also taken into consideration by a good number of papers. Although tonal and prosodic distinctions have been dealt with throughout man's literate history with reference to the study of language, for example by classical philosophers such as Plato and Aristotle, it is in recent decades that we have witnessed the most fertile growth in intonation studies, as with experimental phonetics and speech technology in general. As Rossi (this volume) points out, intonation research really began to blossom in the sixties with a multi fold increase in prosodic studies, reflected in contributions to the International Congress of Phonetic Sciences (ICPhS), and in the international literature.