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Much of the apparent advantage of Cantonese, with one foreign language perceived as familiar, over Mandarin, which must be learned all over again, is that Cantonese, unlike Mandarin, is tonal. The relatively poor perceptual categorization accuracy for the Thai and English intonation groups–in which context, assimilation was not observed at all–is also noteworthy. Perhaps the participants who were native speakers of Mandarin and Thai were applicable for their native context, while the English speakers were not. We can’t rule this out, since specificity was not assessed, but it is also possible that the relatively unfamiliar written intonation cues of English, relative to spoken intonation cues, made the group of native speakers of any language less applicable to the task as a whole. That is, migrants with some familiarity with the target language may be better able to extract linguistic cues, when they are available, than participants wholly unfamiliar with “advanced” status markers such as sentence intonation in French and Mandarin.
Instead, the results from our high-resolution presentation and analysis of category assimilation patterns consistent with those in the literature, including their subset-group comparison, are clear: The participants’ native accents modulated perception of accented and unaccented speech prosody. As the phonemic categorization data in the Appendix shows, cluster robustness analyses of the various presentation modalities reinforce previous reports of non-native accents being affected by contextual cues
in levels of perception, only the native speakers of those languages were robust to all of the presentation modalities that we tested. Overall, both Cantonese and Mandarin speakers’ perception of French intonation cues was affected by the familiarity of the modality in which they heard the accented speech. a4e618e0b4
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In linguistics, intonation is variation in pitch used to indicate the speaker's attitudes and emotions, to highlight or focus an expression, to signal the illocutionary act performed by a sentence, or to regulate the flow of discourse. For example, the English question "Does Maria speak Spanish or French?" is interpreted as a yes-or-no question when it is uttered with a single rising intonation contour, but is interpreted as an alternative question when uttered with a rising contour on "Spanish" and a falling contour on "French". Although intonation is primarily a matter of pitch variation, its effects almost always work hand-in-hand with other prosodic features. Intonation is distinct from tone, the phenomenon where pitch is used to distinguish words (as in Mandarin) or to mark grammatical features (as in Kinyarwanda).
British descriptions of English intonation can be traced back to the 16th century.[5] Early in the 20th century the dominant approach in the description of English and French intonation was based on a small number of basic "tunes" associated with intonation units: in a typical description, Tune 1 is falling, with final fall, while Tune 2 has a final rise.[6] Phoneticians such as H. E. Palmer[7] broke up the intonation of such units into smaller components, the most important of which was the nucleus, which corresponds to the main accented syllable of the intonation unit, usually in the last lexical word of the intonation unit. Each nucleus carries one of a small number of nuclear tones, usually including fall, rise, fall-rise, rise-fall, and possibly others. The nucleus may be preceded by a head containing stressed syllables preceding the nucleus, and a tail consisting of syllables following the nucleus within the tone unit. Unstressed syllables preceding the head (if present) or nucleus (if there is no head) constitute a pre-head. This approach was further developed by Halliday[8] and by O'Connor and Arnold,[9] though with considerable variation in terminology. This "Standard British" treatment of intonation in its present-day form is explained in detail by Wells[10] and in a simplified version by Roach.[11] Halliday saw the functions of intonation as depending on choices in three main variables: Tonality (division of speech into intonation units), Tonicity (the placement of the tonic syllable or nucleus) and Tone (choice of nuclear tone);[12] these terms (sometimes referred to as "the three T's") have been used more recently.[10]
Research by Crystal[13][14] emphasized the importance of making generalizations about intonation based on authentic, unscripted speech, and the roles played by prosodic features such as tempo, pitch range, loudness and rhythmicality in communicative functions usually attributed to intonation.
An influential development in British studies of intonation has been Discourse Intonation, an offshoot of Discourse Analysis first put forward by David Brazil.[15][16] This approach lays great emphasis on the communicative and informational use of intonation, pointing out its use for distinguishing between presenting new information and referring to old, shared information, as well as signalling the relative status of participants in a conversation (e.g. teacher-pupil, or doctor-patient) and helping to regulate conversational turn-taking. The description of intonation in this approach owes much to Halliday. Intonation is analysed purely in terms of pitch movements and "key" and makes little reference to the other prosodic features usually thought to play a part in conversational interaction.
The dominant framework used for American English from the 1940s to the 1990s was based on the idea of pitch phonemes, or tonemes. In the work of Trager and Smith[17] there are four contrastive levels of pitch: low (1), middle (2), high (3), and very high (4). (Unfortunately, the importan

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Demirezen, M. (2010). Simultaneous production and perception of non-native English intonation by Cantonese and Japanese. The first international workshop on the research of non-native speech and speech production (INSSP). 16-17 July, Tokyo, Japan.
This was the first study to simultaneously record Japanese and Cantonese native speakers as they spontaneously produced a set of exclamative utterances with English intonation. A total of 220 utterances were collected from Cantonese and Japanese native speakers, with the speaking materials selected from the recording of Demirezen (2008).
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June 19, 2011 at 01:44 PM · Martin, I’m not sure that you understand the problem of intonation as it relates to the ear. I read a paper on musicianship and musicians that studied the way that ear training is done. I’m not saying that intonation isnt important, but the problem is that it is very hard to teach an innate ability. Ear training is a learned ability.
About the double stopping question, I think I've read it somewhere. It is true that the best musicians can play a double stopping scale in a wide dynamic range and on a single string. But I'm talking about the double stopping written in the music, not the double stopping playing on the violin. I'm not saying that it is not possible, I'm just saying that it is very difficult, not that it is impossible. You must have accurate intonation or you cannot not play your violin well, I think that's pretty obvious. Maybe it is not an innate ability, but musicians get it for the first time when they start to play. Otherwise they do not see the need to correct intonation, although it is more useful in a bigger dynamic range. If you start to practice intonation as I have described above, the difficulty should decrease, but I don't think that the double stopping is the most difficult thing to learn from the beginning. It is harder to play the other harmonic intervals, on the contrary. I'm not sure if it is true, but I think that the fingering changes in the double stopping could be the reason why it is so difficult to play well for beginners. But it is not true, as the same fingering can be used for all double stops.
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Spoken languages can change the pitch or melody of words to convey several different kinds of information. When the pitch affects the meaning of the whole phrase, such as rising to indicate a question in English, linguists call it intonation. When the pitch affects the meaning of an individual word, such as the difference between mother (high mā) and horse (low rising mǎ) in Mandarin, linguists call it tone. 

In this episode, your hosts Gretchen McCulloch and Lauren Gawne get enthusiastic about tone, intonation, and the combination of the two. We talk about various meanings of intonation, such as question, list, floor-holding, emphasis, enthusiasm, and sarcasm, and how different languages use different shapes of intonation contours for functions like these. We also talk about things languages do with tones, from changing meanings of individual words to indicating grammatical information like negation. Finally, we talk about the many, many options for writing tone and intonation (from highly technical proposals to fun internet creations), how tone interacts with lyrics/melody in songs, and how “high” versus “low” tone is actually a culturally-specific metaphor -- could we start calling tones “thin” and “thick” or “big” and “small” instead?

Read the transcript here: https://lingthusiasm.com/post/715162109812637696/transcript-episode-79-tone-and-intonation-tone

Announcements:
In this month’s bonus episode, originally recorded as a liveshow on the Lingthusiasm patron Discord server, your host Gretchen gets enthusiastic about how languages do gender with special guest Dr. Kirby Conrod. We answer your questions about lots of things related to language and gender, including: gender-neutral versions of sir/ma'am and dude/bro, why linguistic gender even exists, how people are doing gender-neutral and nonbinary things across related languages, and how neopronouns are often made by recycling bits from a language's canonical pronouns. 

Join us on Patreon now to get access to this and 70+ other bonus episodes, as well as access to the Lingthusiasm Discord server where you can chat with other language nerds! Our patrons let us keep making the main episodes free for everyone and we really appreciate every level of support. www.patreon.com/lingthusiasm

For links to things mentioned in this episode: https://lingthusiasm.com/post/715161716945813504/episode-79-tone-and-intonation-tone-and

79: Tone and Intonation? Tone and Intonation!

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When a speaker has falling intonation, the pitch starts high and continues to go down. Notice how the speaker has a falling intonation when she says each of the following sentences. Sometime it is hard to hear the exact pitch that is used, but you can always count the number of times that the pitch goes up in each sentence. This process is called 'pitch tracking' and you will get better at it over time.
We can use intonation to show that the verb in the tag ending is different to the verb in the question. For example, when we are asking ourselves a question, we can ask, What time is it? We use a rising tone to indicate that we are not sure of the answer, but we are still interested in the answer. If we want to ask someone else, we would ask: What time is it? This is a tag question. We are asking ourselves a question about the time, but we don't know the answer, so we are asking someone else. We are not asking in our own name.
If you have a question and you know the answer, you can say, “Can I ask you a question?” It’s falling intonation, so the question is phrased as a question. (Note: You can also use a rising intonation to tell someone you want to ask them a question. You usually use this type of intonation when you don’t want to confirm or deny the statement you’re making.
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Why You Need Wells J.C.'s PDF 40 on English Intonation
Intonation is the rise and fall of pitch in our voices that conveys meaning and emotion. It is one of the most important aspects of spoken English, yet it is often overlooked or misunderstood by learners and teachers alike. In this article, we will introduce you to Wells J.C.'s PDF 40, a comprehensive and accessible guide to English intonation that will help you master this crucial skill.

What is Wells J.C.'s PDF 40?
Wells J.C.'s PDF 40 is a book and an audio CD that provide an introduction to English intonation for intermediate to advanced learners of English as a second or foreign language. It was written by J.C. Wells, a professor of phonetics and a renowned expert on English pronunciation. The book consists of nine chapters that cover the main functions and features of intonation, such as attitude, structure, focus, prominence, tone units, pitch movement, key, and termination. The audio CD contains recordings of selected examples from the text and exercises that allow you to listen and practice the intonation patterns yourself.

What are the benefits of Wells J.C.'s PDF 40?
Wells J.C.'s PDF 40 has many benefits for anyone who wants to improve their English intonation. Here are some of them:

It explains the meaning and use of intonation in a clear and simple way, with plenty of examples and diagrams.
It covers both British and American varieties of English, as well as other accents and dialects.
It provides practical exercises and drills that help you develop your listening and speaking skills.
It includes a glossary of technical terms and a bibliography for further reading.
It is suitable for self-study or classroom use, as well as for reference.


How can you get Wells J.C.'s PDF 40?
Wells J.C.'s PDF 40 is available online from various sources  . You can download it as a PDF file or order it as a paperback book with an audio CD. The price may vary depending on the seller and the format. You can also check if your local library has a copy of it.
What are some tips for using Wells J.C.'s PDF 40?
Wells J.C.'s PDF 40 is a valuable resource for learning and teaching English intonation, but it is not enough to just read it or listen to it. You need to actively engage with the material and practice it regularly. Here are some tips for making the most of Wells J.C.'s PDF 40:

Before you start each chapter, read the introduction and the objectives to get an overview of what you will learn.
As you read the text, pay attention to the examples and the diagrams. Try to imitate the intonation patterns with your own voice.
After you finish each chapter, do the exercises and check your answers. Repeat the exercises until you feel confident.
Use the audio CD to listen to the recordings of the examples and the exercises. Compare your intonation with the speakers' intonation and try to correct any mistakes.
Record yourself reading some of the passages or making your own sentences using the intonation patterns. Listen to your recordings and evaluate your performance.
Practice your intonation with a native speaker or a teacher. Ask for feedback and suggestions for improvement.


What are some challenges of learning English intonation?
Learning English intonation can be challenging for many reasons. Some of them are:

Intonation is not always taught explicitly or systematically in English courses. Many learners and teachers focus more on grammar, vocabulary, and pronunciation of individual sounds.
Intonation is not always easy to hear or produce. It depends on many factors, such as stress, rhythm, pitch, speed, volume, and emotion. It can also vary depending on the context, the speaker, and the listener.
Intonation is not always consistent or predictable. There are often different ways of saying the same thing with differ

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In linguistics, intonation is variation in pitch used to indicate the speaker's attitudes and emotions, to highlight or focus an expression, to signal the illocutionary act performed by a sentence, or to regulate the flow of discourse. For example, the English question "Does Maria speak Spanish or French?" is interpreted as a yes-or-no question when it is uttered with a single rising intonation contour, but is interpreted as an alternative question when uttered with a rising contour on "Spanish" and a falling contour on "French". Although intonation is primarily a matter of pitch variation, its effects almost always work hand-in-hand with other prosodic features. Intonation is distinct from tone, the phenomenon where pitch is used to distinguish words (as in Mandarin) or to mark grammatical features (as in Kinyarwanda).
British descriptions of English intonation can be traced back to the 16th century.[5] Early in the 20th century the dominant approach in the description of English and French intonation was based on a small number of basic "tunes" associated with intonation units: in a typical description, Tune 1 is falling, with final fall, while Tune 2 has a final rise.[6] Phoneticians such as H. E. Palmer[7] broke up the intonation of such units into smaller components, the most important of which was the nucleus, which corresponds to the main accented syllable of the intonation unit, usually in the last lexical word of the intonation unit. Each nucleus carries one of a small number of nuclear tones, usually including fall, rise, fall-rise, rise-fall, and possibly others. The nucleus may be preceded by a head containing stressed syllables preceding the nucleus, and a tail consisting of syllables following the nucleus within the tone unit. Unstressed syllables preceding the head (if present) or nucleus (if there is no head) constitute a pre-head. This approach was further developed by Halliday[8] and by O'Connor and Arnold,[9] though with considerable variation in terminology. This "Standard British" treatment of intonation in its present-day form is explained in detail by Wells[10] and in a simplified version by Roach.[11] Halliday saw the functions of intonation as depending on choices in three main variables: Tonality (division of speech into intonation units), Tonicity (the placement of the tonic syllable or nucleus) and Tone (choice of nuclear tone);[12] these terms (sometimes referred to as "the three T's") have been used more recently.[10]
Research by Crystal[13][14] emphasized the importance of making generalizations about intonation based on authentic, unscripted speech, and the roles played by prosodic features such as tempo, pitch range, loudness and rhythmicality in communicative functions usually attributed to intonation.
An influential development in British studies of intonation has been Discourse Intonation, an offshoot of Discourse Analysis first put forward by David Brazil.[15][16] This approach lays great emphasis on the communicative and informational use of intonation, pointing out its use for distinguishing between presenting new information and referring to old, shared information, as well as signalling the relative status of participants in a conversation (e.g. teacher-pupil, or doctor-patient) and helping to regulate conversational turn-taking. The description of intonation in this approach owes much to Halliday. Intonation is analysed purely in terms of pitch movements and "key" and makes little reference to the other prosodic features usually thought to play a part in conversational interaction.
The dominant framework used for American English from the 1940s to the 1990s was based on the idea of pitch phonemes, or tonemes. In the work of Trager and Smith[17] there are four contrastive levels of pitch: low (1), middle (2), high (3), and very high (4). (Unfortunately, the important work of Ke

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English Phonology by Adenike Akinjobi, PDF, was published in 2016 and uploaded for 300-level Arts and Humanities students of University of Ibadan (UI), offering ENG302 course. This ebook can be downloaded for FREE online on this page. English Phonology ebook can be used to learn English Phonology, Phonology, Phonetics, phonemes, allophones, Phonemic Alphabets, Phonetic Alphabets, English Phonotactics, Phonotactics, Phonological Theories, Phonological Theory, metrical phonology, English Phonological Rules, English stress, Sentence Stress, English Intonation, intonational tunes, English Rhythm.
Topics : English pronounciation, communication, speech, speech production, phonetics, linguistics, speech chain, speech mechanism, vocal cords, articulatory description, sounds, phonetic description, vowel, consonant, egressive pulmonic sounds, consonant type, vowel type, English vowels, pure vowels, Diphthongal glides, diphtongs, english consonants, connected speech, accent, intonation, stress, accentual function, international phonetic alphabet

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MISSION: INTONATION WORKS WITH THE YOUTH OF CHICAGO TO EXPERIENCE MAKING MUSIC ON THEIR OWN TERMS, LEADING TO PERSONAL GROWTH AND THE ENRICHMENT OF THEIR COMMUNITIES.

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