METHODS AND SYSTEMS FOR USING DOMAIN SPECIFIC RULES TO IDENTIFY WORDSġ. Use of common words, and common word bound prefixes, infixes, and suffixes for natural language and genre determination for serving as a student study aid of textbook material for generating automated indexes, automated keywords of documents, and automated queries for data-base reduction (compaction) and for sorting documents in heterogenous databasesĬOMMUNICATION APPARATUS AND RELATED METHODĪUTOMATIC CONTEXT SENSITIVE LANGUAGE CORRECTION AND ENHANCEMENT USING AN INTERNET CORPUSĪuto Generation of Social Media Content from Existing Sources SYSTEM AND METHOD FOR AUTOMATED ADAPTATION AND IMPROVEMENT OF SPEAKER AUTHENTICATION IN A VOICE BIOMETRIC SYSTEM ENVIRONMENT Method for electronically generating a synchronized textual transcript of an audio recording SYSTEM AND METHOD FOR COMPUTING AND TRANSMITTING PARAMETERS IN A DISTRIBUTED VOICE RECOGNITION SYSTEM A research article containing images illustrating many specific examples of pitch contours for recited poetry.SIGNAL REPRODUCTION APPARATUS AND METHOD THEREFORĮrror concealment method with pitch change detection Phonetic Cues and Dramatic Function Artistic Recitation of Metered Speech. Contains review of these and earlier articles. Elizabeth West Marvin, "A Generalization of Contour Theory to Diverse Musical Spaces: Analytical Applications to the Music of Dallapiccola and Stockhausen" in Musical Pluralism: Aspects of Aesthetics and Structure Since 1945 (forthcoming).Charles Seeger, "On the Moods of a Music-Logic." Journal of the American Musicology Society 8 (1960): 224-61.Adams, "Melodic Contour Typology," Ethnomusicology 20 (1976): 179- 215. Mieczyslaw Kolinski, "The Structure of Melodic Movement: A New Method of Analysis," Studies in Ethnomusicology 2 (1965): 96-120."Possible and Impossible Melody: Some Formal Aspects of Contour", Journal of Music Theory, Vol. Larry Polansky Richard Bassein (1992).Polansky, "Morphological Metrics: An Introduction to a Theory of Formal Distances" in Proceedings of the International Computer Music Conference (San Francisco: Computer Music Association, 1987).Morris, Composition with Pitch-Classes: A Theory of Compositional Design (New Haven and London: Yale University Press, 1987).Friedmann, "A Methodology for the Discussion of Contour: Its Application to Schoenberg's Music," Journal of Music Theory 29 (1985): 223-48.Sonic Design: The Nature of Sound and Music. When a person speaks a sentence involving multiple e sounds, the peaks will shift within these ranges, and the movement of the peaks between two instances establishes the difference in their values on the pitch contour. Nevertheless, by establishing a fixed reference point in the frequency function of a complex sound, and then observing the movement of this reference point as the function translates, one can generate a meaningful pitch contour consistent with human experience.įor example, the vowel e has two primary formants, one peaking between 400 and 600 Hz and one between 22 Hz. Pure tones have a clear pitch, but complex sounds such as speech and music typically have intense peaks at many different frequencies. The same contour can be transposed without losing its essential relative qualities, such as sudden changes in pitch or a pitch that rises or falls over time. In music, the pitch contour focuses on the relative change in pitch over time of a primary sequence of played notes. Unnatural pitch contours result in synthesis that sounds "lifeless" or "emotionless" to human listeners, a feature that has become a stereotype of speech synthesis in popular culture. One of the primary challenges in speech synthesis technology, particularly for Western languages, is to create a natural-sounding pitch contour for the utterance as a whole. It also indicates intonation in pitch accent languages. It is fundamental to the linguistic concept of tone, where the pitch or change in pitch of a speech unit over time affects the semantic meaning of a sound. Because it deals with complex sounds involving many pitches, it is necessarily a relative measure that relates the frequency function at one point in time to the frequency function at a later point. In linguistics, speech synthesis, and music, the pitch contour of a sound is a function or curve that tracks the perceived pitch of the sound over time.
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