منابع مشابه
The Tone Height of Multiharmonic Sounds
Multiharmonic tones containing resolved harmonics (1-7) of a fundamental, unresolved harmonics (8-24) of a fundamental, or both resolved and unresolved harmonics (1-24) were presented to listeners at each of six octaves ranging from 32 to 1024 Hz. There also were modified versions of each stimulus in which alternate harmonics were either attenuated or phase shifted. Listeners were asked to judg...
متن کاملMarkedness and the Phonological Typology of Two-Height Tone Systems
Despite longstanding interest in defining what a tone system is and in contrasting tone, pitchand stress-accent systems, there have been surprisingly few attempts to sort out the relevant phonological properties which distinguish “true” tone systems from each other. In this paper, I explore a propertydriven typology of two-height tone systems, based on markedness. Drawing from a current databas...
متن کاملThe effects of skin tone, height, and gender on earnings
Using a theoretical approach grounded in implicit bias and stereotyping theories, this study examines the relationship between observable physical characteristics (skin tone, height, and gender) and earnings, as measured by income. Combining separate streams of research on the influence of these three characteristics, we draw from a sample of 31,356 individual-year observations across 4,340 ind...
متن کاملMarkedness, Faithfulness, and the Typology of Two-Height Tone Systems
In this paper, I explore the possibility of typologizing two-height tone systems based on markedness. Drawing from a current database of 650 tone systems (of which over 400 are twoheight), I will first confirm that two-height systems may be “equipollent” /H, L/, “privative” /H/ or /L/ vs. Ø — or both, /H, L/ vs. Ø. I demonstrate that “markedness as faithfulness” (Pulleyblank 2004) and “faithful...
متن کاملThe role of tone height, melodic contour, and tone chroma in melody recognition.
The present experiments assessed the contribution of tone height, melodic contour, and tone chroma to melody recognition. Rather than using highly familiar folk songs as in earlier studies, subjects were taught new melodies. Novel melodies were used to (a) more precisely control potential cues (e.g., rhythm) that are not of present interest, (b) eliminate unison intervals that cannot be transfo...
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ژورنال
عنوان ژورنال: The Journal of the Acoustical Society of America
سال: 1989
ISSN: 0001-4966
DOI: 10.1121/1.2027566