intonation pattern

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Words related to intonation pattern

intonations characteristic of questions and requests and statements

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Generally, as can be seen from these examples, this characteristic intonation pattern is particularly noticeable with proper nouns; the word Orkney itself is hardly ever uttered without it.
As the only participant who reported using Spanish as her primary language of communication in the relationship, she would have received greater frequency of input of her partner's specific intonation pattern than the other NSEs.
In the Touchstone 4 manual, 13 of the 28 entries were supplementary with only five review activities in which the teacher was prompted to remind students to use informal lexical reductions or a particular intonation pattern in the speaking tasks.
They form a separate intonation unit with a YNQ intonation pattern in English, French, Romanian, European Portuguese, and Moroccan Arabic (Hirst and Di Cristo 1998), and they are characterized by a high final boundary tone in Paiwan (Chen 2010).
The transfer of this intonation pattern into L2 contributes to the impression of foreign accent and makes a speaker sound more non-native.
Data on intonation patterns concentrating on pitch level are followed by the labels of emotional attitudes from phonetic literature.
KEYWORDS: Intonation patterns, F0, nuclear tones, ToBI, rises, falls.
This retention of ancient Jewish intonation patterns and their emergence in a newly acquired language is a phenomenon known to us from modern times as well.
For example, in figure 1 I've illustrated three consecutive intonation units, each of which follows a similar graphic intonation pattern.
It appears, then, that among inhabitants of the Northern Isles the intonation pattern of an utterance can on its own be sufficient to enable a listener to decide whether he or she is listening to a speaker from his or her own island group, or to a speaker from the other one.
As Pierrehumbert (1980: 17) notes, "English makes considerable use of pitch range, with the result that what is clearly the same basic intonation pattern can be produced in many different pitch ranges.
Let us now look more closely at this flat, low-pitched intonation pattern terminating with a drop.
I have suggested (134 and passim) that where linguistic stress pattern or intonation pattern conflicts with the patterns required by versification, the performer may have recourse to conflicting cues.
There is some indication that our phonetic competence also provides a mechanism for handling conflicting cues: we decode distorted words or intonation patterns in terms of the conflicting patterns that generated them--both for rhythmic and affective ends.
The first chapter gives background on muscles of the mouth, rhythm and stress patterns, intonation patterns, and phonetics.