scholarly journals A prosódia do metadiscurso

2021 ◽  
Vol 2 (4) ◽  
pp. e477
Author(s):  
Arthur Ronald Brasil Terto ◽  
Miguel Oliveira Jr
Keyword(s):  

Este trabalho investigou a prosódia da metadiscursividade. O objetivo foi analisar as características prosódicas dos enunciados metadiscursivos ladeados por não-metadiscursivos. Partindo da hipótese de que existiriam padrões de f0 e de duração que permitiriam caracterizar o enunciado metadiscursivo no contexto de fala relatado acima, este estudo analisou as propriedades de pitch range, pitch reset, distribuição entoacional, tons de fronteira, taxa de elocução e ocorrência e duração de pausas. As análises tomaram por fundamento as teorias de fonologia prosódica e autossegmental e métrica da entoação. Sete inquéritos foram selecionados do portal do Projeto NURC Digital, dos quais foram retirados trechos com três enunciados (o pré-metadiscursivo, o metadiscursivo e o pós-metadiscursivo). As análises estatísticas lançaram mão dos testes modelo linear misto e regressão logística binomial. A investigação constatou que os enunciados metadiscursivos são realizados, prosodicamente, como estruturas independentes das demais que o ladeiam. Essa independência é evidenciada por meio de uma taxa de elocução maior e por tons de fronteira não-baixos em suas delimitações. Somado a isso, constatou também, em cerca da metade dos contextos analisados, um concurso de pausas silenciosas e tons de fronteira não-baixos nos limites do enunciado metadiscursivo. Não foram observados, no entanto, padrões de pitch range e de distribuição entoacional associados a este tipo de enunciado. Embora houvesse pitch reset entre os enunciados, a atuação desse elemento prosódico não foi significativa. Esses resultados contribuem para a descrição da prosódia da metadiscursividade no português brasileiro e para o ensino da constituição e do funcionamento dos gêneros discursivos da oralidade.

2020 ◽  
Author(s):  
Stephen Charles Van Hedger ◽  
Ingrid Johnsrude ◽  
Laura Batterink

Listeners are adept at extracting regularities from the environment, a process known as statistical learning (SL). SL has been generally assumed to be a form of “context-free” learning that occurs independently of prior knowledge, and SL experiments typically involve exposing participants to presumed novel regularities, such as repeating nonsense words. However, recent work has called this assumption into question, demonstrating that learners’ previous language experience can considerably influence SL performance. In the present experiment, we tested whether previous knowledge also shapes SL in a non-linguistic domain, using a paradigm that involves extracting regularities over tone sequences. Participants learned novel tone sequences, which consisted of pitch intervals not typically found in Western music. For one group of participants, the tone sequences used artificial, computerized instrument sounds. For the other group, the same tone sequences used familiar instrument sounds (piano or violin). Knowledge of the statistical regularities was assessed using both trained sounds (measuring specific learning) and sounds that differed in pitch range and/or instrument (measuring transfer learning). In a follow-up experiment, two additional testing sessions were administered to gauge retention of learning (one day and approximately one-week post-training). Compared to artificial instruments, training on sequences played by familiar instruments resulted in reduced correlations among test items, reflecting more idiosyncratic performance. Across all three testing sessions, learning of novel regularities presented with familiar instruments was worse compared to unfamiliar instruments, suggesting that prior exposure to music produced by familiar instruments interfered with new sequence learning. Overall, these results demonstrate that real-world experience influences SL in a non-linguistic domain, supporting the view that SL involves the continuous updating of existing representations, rather than the establishment of entirely novel ones.


Author(s):  
Jianjing Kuang ◽  
Yixuan Guo ◽  
Mark Liberman

Author(s):  
Qi Zhang ◽  
Chong Cao ◽  
Tiantian Li ◽  
Yanlu Xie ◽  
Jinsong Zhang
Keyword(s):  

2021 ◽  
Vol 12 ◽  
Author(s):  
Auriel Washburn ◽  
Matthew J. Wright ◽  
Chris Chafe ◽  
Takako Fujioka

Today’s audio, visual, and internet technologies allow people to interact despite physical distances, for casual conversation, group workouts, or musical performance. Musical ensemble performance is unique because interaction integrity critically depends on the timing between each performer’s actions and when their acoustic outcomes arrive. Acoustic transmission latency (ATL) between players is substantially longer for networked music performance (NMP) compared to traditional in-person spaces where musicians can easily adapt. Previous work has shown that longer ATLs slow the average tempo in ensemble performance, and that asymmetric co-actor roles and empathy-related traits affect coordination patterns in joint action. Thus, we are interested in how musicians collectively adapt to a given latency and how such adaptation patterns vary with their task-related and person-related asymmetries. Here, we examined how two pianists performed duets while hearing each other’s auditory outcomes with an ATL of 10, 20, or 40 ms. To test the hypotheses regarding task-related asymmetries, we designed duets such that pianists had: (1) a starting or joining role and (2) a similar or dissimilar musical part compared to their co-performer, with respect to pitch range and melodic contour. Results replicated previous clapping-duet findings showing that longer ATLs are associated with greater temporal asynchrony between partners and increased average tempo slowing. While co-performer asynchronies were not affected by performer role or part similarity, at the longer ATLs starting performers displayed slower tempos and smaller tempo variability than joining performers. This asymmetry of stability vs. flexibility between starters and joiners may sustain coordination, consistent with recent joint action findings. Our data also suggest that relative independence in musical parts may mitigate ATL-related challenges. Additionally, there may be a relationship between co-performer differences in empathy-related personality traits such as locus of control and coordination during performance under the influence of ATL. Incorporating the emergent coordinative dynamics between performers could help further innovation of music technologies and composition techniques for NMP.


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