304:, the pitch contour focuses on the relative change in pitch over time of a primary sequence of played notes. 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. Often used in the analysis of post-tonal music, Michael Friedmann's methodology for analyzing pitch contour assigns numeric values to notate where each pitch falls in relation to the others within a musical line; the lowest pitch is assigned "0" and the highest pitch is assigned the value of n-1, in which n= the number of pitches within the segmentation. Therefore, a contour that follows the sequence of low, middle, high, would be labeled as contour classes 0, 1, and 2.
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technology, particularly for non-tonal languages, is to create a natural-sounding pitch contour for the utterance as a whole. 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
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have a clear pitch, but complex sounds such as speech and music typically have intense peaks at many different frequencies. 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
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Elizabeth West Marvin, "A Generalization of
Contour Theory to Diverse Musical Spaces: Analytical Applications to the Music of Dallapiccola and Stockhausen" in
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of the sound over time. Pitch contour may include multiple sounds utilizing many pitches, and can relate the
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Polansky, Larry; Richard
Bassein (1992). "Possible and Impossible Melody: Some Formal Aspects of Contour",
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Friedmann, "A Methodology for the
Discussion of Contour: Its Application to Schoenberg's Music,"
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translates, one can generate a meaningful pitch contour consistent with human experience.
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Polansky, "Morphological
Metrics: An Introduction to a Theory of Formal Distances" in
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Mieczyslaw
Kolinski, "The Structure of Melodic Movement: A New Method of Analysis,"
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Frieddman, Michael (1987). "A Response: My
Contour, Their Contour".
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Musical
Pluralism: Aspects of Aesthetics and Structure Since 1945
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at one point in time to the frequency function at a later point.
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448:(forthcoming). Contains review of these and earlier articles.
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of a sound is a function or curve that tracks the perceived
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413:, Vol. 36, No. 2. (Autumn, 1992), pp. 259–284.
399:(New Haven and London: Yale University Press, 1987)
406:(San Francisco: Computer Music Association, 1987).
437:Charles Seeger, "On the Moods of a Music-Logic."
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277:It is fundamental to the linguistic concept of
430:Charles R. Adams, "Melodic Contour Typology,"
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383:Sonic Design: The Nature of Sound and Music
53:Learn how and when to remove these messages
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439:Journal of the American Musicology Society
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237:Learn how and when to remove this message
219:Learn how and when to remove this message
157:Learn how and when to remove this message
385:. (Englewood Cliffs, NJ: Prentice-Hall).
182:This article includes a list of general
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381:Cogan and Escot (1976).
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203:more precise citations.
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711:Tone (linguistics)
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376:Music bibliography
272:frequency function
122:possibly contains
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314:For example, the
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76:lead section
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36:Please help
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665:Pitch reset
575:Tone letter
570:Tone sandhi
289:languages.
252:linguistics
201:introducing
654:Intonation
626:Gemination
338:References
308:Pure tones
283:intonation
209:April 2015
184:references
147:April 2015
131:improve it
39:improve it
555:Downdrift
297:culture.
135:verifying
86:and help
45:talk page
705:Category
680:Loudness
621:Chroneme
545:Downstep
540:Register
497:Syllable
395:Morris,
326:See also
320:formants
656:(pitch)
646:Prosody
197:improve
129:Please
675:Rhythm
670:Stress
613:Length
603:Accent
585:Stress
550:Upstep
489:Timing
262:, the
258:, and
186:, but
690:Pausa
316:vowel
302:music
268:pitch
260:music
522:Tone
502:Mora
279:tone
361:doi
300:In
285:in
250:In
133:by
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