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Any theory of phonology must be able to account for the acquisition and development of a phonological system, and studying acquisition often leads to reciprocal advances in the theory. This volume explores the link between phonological theory and linguistic development from a variety of angles, including phonological representation, individual differences, and cross-linguistic approaches. Chapters touch on the full spectrum of phonological development, from childhood to adult second-language learning, and from developing dialects to language death. Contributors are leading researchers in the fields of linguistics, speech pathology, and cognitive psychology. A tribute to Daniel A. Dinnsen, the papers in this volume complement his research career by highlighting significant contributions of acquisition research to the development of phonological theory.
During the 1950s and 1960s, Austro-German scholars made decisive advances in developing concepts to account for harmonic processes in late medieval music. Despite the considerable potential these ideas hold for analysis and criticism of early music, they have hitherto exerted little influence outside their countries of origin. In order to render this valuable literature more immediately accessible to English-speaking students and scholars, this book presents translations of twelve seminal articles that originally appeared during the years 1948-1967, along with a comprehensive introductory chapter detailing the evolution of competing theories and terminology.
The 30 lively and diverse essays brought together in this volume--all drawn from the journal PERSPECTIVE OF NEW MUSIC--suggest possible answers to the age-old question: Why does music affect us so strongly? The writers include many of the most prominent names in both modern music and aesthetic theory, including Pierre Boulez, John Cage, Iannis Xenakis, Eric Gans, Michel Foucault, and Delmore Schwartz.
The Handbook of Phonological Theory, second edition offers an innovative and detailed examination of recent developments in phonology, and the implications of these within linguistic theory and related disciplines. Revised from the ground-up for the second edition, the book is comprised almost entirely of newly-written and previously unpublished chapters Addresses the important questions in the field including learnability, phonological interfaces, tone, and variation, and assesses the findings and accomplishments in these domains Brings together a renowned and international contributor team Offers new and unique reflections on the advances in phonological theory since publication of the first edition in 1995 Along with the first edition, still in publication, it forms the most complete and current overview of the subject in print
Christopher Fox (1955) has emerged as one of the most fascinating composers of the post-war generation. His spirit of experimentalism pervades an oeuvre in which he has blithely created his own version of a range of contemporary musical practices. In his work many of the major expressions of European cultural activity - Darmstadt, Fluxus, spectralism, postminimalism and more - are assimilated to produce a voice which is uniquely resonant and multifaceted. In this, the first major study of his work, musicologists, composers, thinkers and practitioners scrutinize aspects of Christopher Fox's music, each exploring elements that relate to their own distinct areas of practice, tracing Fox's compositional trajectory and situating it within post-war contemporary European music practice. Above all this book addresses the question: How can one person dip his fingers into so many paint pots and yet retain a coherent compositional vision? The range of Fox's musical concerns make his work of interest to anyone who wants to study the development of so-called new music spanning the latter twentieth century into the twenty first century.
Publishers Weekly Best Book in Religion 2020 Foreword Review's INDIES Book of the Year Award, Religion In Theological Territories, David Bentley Hart, one of America's most eminent contemporary writers on religion, reflects on the state of theology "at the borders" of other fields of discourse—metaphysics, philosophy of mind, science, the arts, ethics, and biblical hermeneutics in particular. The book advances many of Hart's larger theological projects, developing and deepening numerous dimensions of his previous work. Theological Territories constitutes something of a manifesto regarding the manner in which theology should engage other fields of concern and scholarship. The essays are divided into five sections on the nature of theology, the relations between theology and science, the connections between gospel and culture, literary representations of and engagements with transcendence, and the New Testament. Hart responds to influential books, theologians, philosophers, and poets, including Rowan Williams, Jean-Luc Marion, Tomáš Halík, Sergei Bulgakov, Jennifer Newsome Martin, and David Jones, among others. The twenty-six chapters are drawn from live addresses delivered in various settings. Most of the material has never been printed before, and those parts that have appear here in expanded form. Throughout, these essays show how Hart's mind works with the academic veneer of more formal pieces stripped away. The book will appeal to both academic and non-academic readers interested in the place of theology in the modern world.
Sonority is a central notion in phonetics and phonology and it is essential for generalizations related to syllabic organization. However, to date there is no clear consensus on the phonetic basis of sonority, neither in perception nor in production. The widely used Sonority Sequencing Principle (SSP) represents the speech signal as a sequence of discrete units, where phonological processes are modeled as symbol manipulating rules that lack a temporal dimension and are devoid of inherent links to perceptual, motoric or cognitive processes. The current work aims to change this by outlining a novel approach for the extraction of continuous entities from acoustic space in order to model dynamic aspects of phonological perception. It is used here to advance a functional understanding of sonority as a universal aspect of prosody that requires pitch-bearing syllables as the building blocks of speech.This book argues that sonority is best understood as a measurement of pitch intelligibility in perception, which is closely linked to periodic energy in acoustics. It presents a novel principle for sonority-based determinations of well-formedness – the Nucleus Attraction Principle (NAP). Two complementary NAP models independently account for symbolic and continuous representations and they mostly outperform SSP-based models, demonstrated here with experimental perception studies and with a corpus study of Modern Hebrew nouns. This work also includes a description of ProPer (Prosodic Analysis with Periodic Energy). The ProPer toolbox further exploits the proposal that periodic energy reflects sonority in order to cover major topics in prosodic research, such as prominence, intonation and speech rate. The book is finally concluded with brief discussions on selected topics: (i) the phonotactic division of labor with respect to /s/-stop clusters; (ii) the debate about the universality of sonority; and (iii) the fate of the classic phonetics–phonology dichotomy as it relates to continuity and dynamics in phonology.
The Grateful Dead, one of the most meticulously documented rock bands, significantly influenced American music and popular culture. Its popularity has endured for three decades despite mixed critical reception. Jerry Garcia, thought of among many as a musical icon and spokesperson for more than one generation of fans, was often equally scorned by various critics. This collection of scholarly essays attests to the varied fields of interest the band and its followers, known as Deadheads, have affected, including psychology, law, and ethnomusicology. The contributions explore the diversity of the culture of fans, empirically analyze the music, apply literary criticism to the lyrics, and explore Dead-related philosophical and theological concepts — in other words, they are as eclectic as the myriad Grateful Dead fans themselves. Appealing to Grateful Dead scholars, fans, and collectors alike, these twenty-two essays are grouped by subject, and each essay includes a bibliography of resources for further research.
Sonority has a long and contentious history. It has often been invoked by linguists as an explanatory principle underlying various cross-linguistic phonotactic generalizations, especially within the domain of the syllable. However, many phonologists and phoneticians have expressed concerns about the adequacy of formal accounts based on sonority, including even doubts about the very existence of sonority itself. To date, the topic of sonority has never been the focus of an entire book. Consequently, this is the first complete volume that explores diverging viewpoints about phonological phenomena rooted in sonority taken from numerous languages. All of the contributors are well-known and respected linguists who publish their research in leading academic outlets. Furthermore, each chapter in this collection contains new, cutting-edge results based on the latest trends in the field. Hence, no other extant piece of literature matches this volume in terms of its breadth and coverage of issues, all converging on the common theme of sonority. Given the wide variety of subtopics in this collection, there is something to appeal to everyone — the list of contributions encompasses areas such as Optimality Theory, acquisition, computational modeling, acoustic phonetics, typology, syllable structure, speech perception, markedness, connectionism, psycholinguistics, and even MRI technology. What ties all of these issues together is a solid and consistent emphasis on sonority as a unified background phenomenon. Furthermore, a continuum of opinions about sonority is represented, ranging from complete acceptance and enthusiasm, on the one hand, to moderate skepticism on the other hand.
This volume undertakes a linguistic exploration of the endangered Arabic dialect spoken by the Jews of Gabes, a coastal city situated in Southern Tunisia. Belonging to the category of sedentary North African dialects, this variety is now spoken by a dwindling number of native speakers, primarily in Israel and France. Given the imminent extinction faced by many modern varieties of Judaeo-Arabic, including Jewish Gabes, the study's primary goal is to document and describe its linguistic nuances while reliable speakers are still accessible. Data for this comprehensive study were collected during fieldwork in Israel and France between December 2018 and March 2022. The volume's primary objective is a meticulous comparative analysis of Jewish Gabes, with a special emphasis on syntax, aiming to discern unique linguistic features through comparison with other North African dialects. The results of the study suggest that the Jewish dialect of Gabes emerged in the first wave of the Arab conquest of the Maghreb, thus exhibiting features that set it apart from its Muslim counterpart. This old variety therefore has the potential to provide invaluable information on the formation of Maghrebi Arabic and the mechanisms of language contact in the pre-Islamic Maghreb. The volume is organised in three main sections: phonology, morphology, and syntax, with the syntax section adopting historical and typological perspectives to shed light on this linguistic terra incognita.