scholarly journals On the relation between gesture, tone production and perception in classical cello performance

2013 ◽  
Author(s):  
Magdalena Chudy ◽  
Alfonso Perez Carrillo ◽  
Simon Dixon
Keyword(s):  
Tone Production ◽  
Cello Performance

On the relation between gesture, tone production, and perception in classical cello performance

2013 ◽  
Vol 133 (5) ◽  
pp. 3271-3271
Author(s):  
Magdalena Chudy ◽  
Alfonso Pérez Carrillo ◽  
Simon Dixon
Keyword(s):  
Tone Production ◽  
Cello Performance

Assessing the Link Between Perception and Production in Cantonese Tone Acquisition

2019 ◽  
Vol 62 (5) ◽  
pp. 1243-1257 ◽  
Author(s):  
Peggy Pik Ki Mok ◽  
Holly Sze Ho Fung ◽  
Vivian Guo Li
Keyword(s):  
Language Acquisition ◽  
General Principle ◽  
Choice Task ◽  
Factors Affecting ◽  
Tone Pair ◽  
Tone Production ◽  
Monosyllabic Words ◽  
Early Production ◽  
Forced Choice Task ◽  
Production Accuracy

Purpose Previous studies showed early production precedes late perception in Cantonese tone acquisition, contrary to the general principle that perception precedes production in child language. How tone production and perception are linked in 1st language acquisition remains largely unknown. Our study revisited the acquisition of tone in Cantonese-speaking children, exploring the possible link between production and perception in 1st language acquisition. Method One hundred eleven Cantonese-speaking children aged between 2;0 and 6;0 (years;months) and 10 adolescent reference speakers participated in tone production and perception experiments. Production materials with 30 monosyllabic words were transcribed in filtered and unfiltered conditions by 2 native judges. Perception accuracy was based on a 2-alternative forced-choice task with pictures covering all possible tone pair contrasts. Results Children's accuracy of production and perception of all the 6 Cantonese tones was still not adultlike by age 6;0. Both production and perception accuracies matured with age. A weak positive link was found between the 2 accuracies. Mother's native language contributed to children's production accuracy. Conclusions Our findings show that production and perception abilities are associated in tone acquisition. Further study is needed to explore factors affecting production accuracy in children. Supplemental Material https://doi.org/10.23641/asha.7960826

scholarly journals Tone Production in the Organ Flue Pipe

1955 ◽  
Vol 27 (1) ◽  
pp. 209-209
Author(s):  
Derwent M. A. Mercer
Keyword(s):  
Tone Production

Vocal colour in English sixteenth~century polyphony

1979 ◽  
Vol 2 ◽  
pp. 19-60 ◽  
Author(s):  
David Wulstan
Keyword(s):  
Sixteenth Century ◽  
Adult Male ◽  
English Language ◽  
Women's Voices ◽  
Tone Production ◽  
Vocal Quality

Genetical factors cannot be excluded from the forces which determine vocal colour. There is no reason to suppose, therefore, that English singing should resemble that of any other nation in all respects. The facility for falsetto singing (by adult male, boys' and women's voices), the paucity of ‘true’ tenor voices and the ‘duller’ tone production all may be cited as characteristic of English singing, and might have a genetical basis. Vocal quality would also be affected by the time at which boys' voices changed, and if Latin were superseded by the somewhat duller English language.

Tone Production

2018 ◽  
pp. 67-80
Author(s):  
Rebecca B. MacLeod
Keyword(s):  
Tone Production

Grover Schiltz

2020 ◽  
pp. 209-223
Author(s):  
Michele Fiala
Keyword(s):  
Assistant Principal ◽  
English Horn ◽  
Tone Production ◽  
American Style ◽  
A Performance ◽  
Breath Control

Grover Schiltz was one of the Chicago Symphony Orchestra’s longest-serving members, from 1959 until his retirement in 2005. He played assistant principal oboe until 1964 and served as principal English horn from 1964 to 2005. In this interview, he discussed warming up, technique, breathing, breath control, and vibrato. He provided advice on reeds, auditions, how to prepare for a performance, and tone production. He talked about the differences in performance between oboe and English horn. He offered advice how to teach musicianship, the nature of talent, and Baroque ornamentation. He shared which artists inspired him, reminiscences about his greatest concerts, and his observations on how the American style changed during his career.

Neil Black

2020 ◽  
pp. 1-12
Author(s):  
Michele Fiala
Keyword(s):  
Chamber Orchestra ◽  
Role Models ◽  
Musical Settings ◽  
Tone Production ◽  
Oxford University ◽  
School Of Music

Neil Black was an internationally known oboist and a professor at London’s Guildhall School of Music and Drama. Black attended Oxford University and earned a degree in history. Three years after finishing at Oxford, he became principal oboist for the London Philharmonic Orchestra. Later in his career, he became the principal oboist for the Academy of St. Martin in the Fields and the English Chamber Orchestra. In this chapter he discussed his beginnings in music, ideas on tone production, reeds, and technique. He further shared his thoughts on flexibility in musical settings, solo playing, and pedagogy. He also reminisced about his role models and his memorable concerts.

Human Factor in Piano Tone Production

1929 ◽  
Vol 1 (1) ◽  
pp. 37-37
Author(s):  
William Braid White
Keyword(s):  
Human Factor ◽  
Tone Production

Disentangling the Effects of Position and Utterance-Level Declination on the Production of Complex Tones in Yoloxóchitl Mixtec

2020 ◽  
pp. 002383092093913
Author(s):  
Christian DiCanio ◽  
Joshua Benn ◽  
Rey Castillo García
Keyword(s):  
Final Position ◽  
Tone Sandhi ◽  
Tone Production ◽  
Endangered Language ◽  
Postural Changes ◽  
Complex Tones ◽  
Final Stress ◽  
Current Article ◽  
Low Tone ◽  
Contour Tones

Phrase-final position is cross-linguistically the locus of both processes of phonetic reduction and processes of phonetic enhancement. In tone languages, phrasal position is a conditioning environment for processes of tone sandhi/allotony, though such patterns emerge from local processes of tonal enhancement or reduction. The current article examines the production of tone in Yoloxóchitl Mixtec, an endangered language of Mexico with nine lexical tones and fixed, stem-final stress, across phrasal and utterance positions via three experiments. In the first two experiments, the findings show that speakers lengthen syllables and expand the tonal F0 range in utterance-final position. The effect of this range expansion is high tone raising, low tone lowering, and falling contour lowering. Rising contour tones undergo substantial leveling when produced in a non-utterance-final context, similar to Taiwanese Mandarin. These findings suggest that postural changes in F0 range are controlled, intonational effects in tonal languages and not paralinguistic. In the third experiment, we examine utterance-level declination and raising within sentences consisting entirely of level tones. We show that utterance-level F0 changes are independent from local tonal hyperarticulation effects in phrase-final position. Together, the experiments largely support prosodically-conditioned phonetic undershoot as a control mechanism in tone production and demonstrate how tonal complexity may constrain universal tendencies in speech production.

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