This book is an investigation into aspects of prosody, intonation and the prosody-syntax interface in Totoli, an endangered Austronesian language. With a strongly data-driven approach, the study integrates a combination of experimental evidence from both production and perception with corpus-based evidence through descriptive and inferential statistics. The study takes the prime structuring unit of speech – the Intonation Unit – as its principal unit of investigation. It presents a thorough description of the IU, develops an intonational model of it, and investigates the syntactic units it contains. The author argues that the data is best analysed by assuming recursive embedding of Intonation Units into Compound Intonation Units. This research represents a significant advancement in our understanding of the nature of prosodic systems found in the languages of the region and in intonational systems in general. It is one of the few investigations into the intonation of Austronesian languages and its analytical proposals are relevant both to prosodic theory and to phonological typology.

This book is an investigation into aspects of prosody, intonation and the prosody-syntax interface in Totoli, an endangered Austronesian language. With a strongly data-driven approach, the study integrates a combination of experimental evidence from both production and perception with corpus-based evidence through descriptive and inferential statistics. The study takes the prime structuring unit of speech – the Intonation Unit – as its principal unit of investigation. It presents a thorough description of the IU, develops an intonational model of it, and investigates the syntactic units it contains. The author argues that the data is best analysed by assuming recursive embedding of Intonation Units into Compound Intonation Units. This research represents a significant advancement in our understanding of the nature of prosodic systems found in the languages of the region and in intonational systems in general. It is one of the few investigations into the intonation of Austronesian languages and its analytical proposals are relevant both to prosodic theory and to phonological typology.

This volume presents the most wide-ranging treatment available today of the Malayo-Polynesian languages of Southeast Asia and their outliers. It offers a comprehensive account of the historical relations and typological diversity in the group, including current debates in their prehistories and descriptive priorities for future study.

This volume brings together studies on morphosyntactic and phonological constituency from a host of languages across the Americas. The study expands on previous multivariate typological work on phonological domains by simultaneously coding the results of morphosyntactic constituency tests. The descriptions are geared towards developing a typology of constituency and linguistic levels in both morphosyntactic and phonological domains. The multivariate approach adopted in this volume deconstructs constituency tests and phonological domains into cross-linguistically comparable variables applying and extending autotypology method to the domain of constituent structure. Current methodologies for establishing constituents have been criticized for containing an in-built selection bias, where the results and interpretation of tests are chosen or sampled in such a fashion that specific analyses are prejudged to be correct or false in a non-rigorous fashion. The papers of this volume develop novel methodology for reporting and coding constituency variables for language description and comparison that seeks to reign in selection bias allowing theories concerning the relationship between morphosyntactic and phonological constituent structure to be more severely tested.

This handbook presents detailed accounts of current research in all aspects of language prosody, written by leading experts from different disciplines. The volume's comprehensive coverage and multidisciplinary approach will make it an invaluable resource for all researchers, students, and practitioners interested in prosody.

A stimulating and unusually wide-ranging collection of essays overviewing ways in which music functions in film soundtracks.

Valency patterns and valency orientation have been frequent topics of research under different perspectives, often poorly connected. Diachronic studies on these topics is even less systematic than synchronic ones. The papers in this book bring together two strands of research on valency, i.e. the description of valency patterns as worked out in the Leipzig Valency Classes Project (ValPaL), and the assessment of a language's basic valency and its possible orientation. Notably, the ValPaL does not provide diachronic information concerning the valency patterns investigated: one of the aims of the book is to supplement the available data with data from historical stages of languages, in order to make it profitably exploitable for diachronic research. In addition, new research on the diachrony of basic valency and valency alternations can deepen our understanding of mechanisms of language change and of the propensity of languages or language families to exploit different constructional patterns related to transitivity.

With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. He has collaborated with many significant directors, and his scores for such films as The Good, the Bad, and the Ugly; Once Upon a Time in America; Days of Heaven; The Mission; The Untouchables; Malèna; and Cinema Paradiso leave moviegoers with the conviction that something special was achieved—a conviction shared by composers, scholars, and fans alike. In Composing for the Cinema: The Theory and Praxis of Music in Film, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Though aimed at composers, Morricone’s expositions are easy to understand and fascinating even to those without any musical training. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffé, the Taviani Brothers, and others. Translated and edited by Gillian B. Anderson, an orchestral conductor and musicologist, these lessons reveal Morricone’s passion about musical expression. Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition. Aimed at a wide audience of composers, musicians, film historians, and fans, Composing for the Cinema contains a treasure trove of practical information and observations from a distinguished musicologist and one of the most accomplished composers on the international film scene.

Learn the language of la dolce vita! For anyone who wants to learn and enjoy the most expressive and romantic of languages, the third edition of The Complete Idiot’s Guide® to Learning Italian is the first choice for a whole new generation of enthusiastic students of Italian. This updated edition includes two new quick references on verbs, grammar, and sentence structure; two new appendixes on Italian synonyms and popular idiomatic phrases; and updated business and money sections. • First two editions have sold extraordinarily well • Italian is the fourth most popular language in the United States