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--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/Old/PreElaineEdits_Report.tex Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,401 @@ + +\documentclass[runningheads,a4paper]{llncs} + +%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%% +%Comment this package before submission +%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%% +%\usepackage{refcheck} +%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%% + + + + + +%\usepackage{amsmath} % just math +%\usepackage{amssymb} % allow blackboard bold (aka N,R,Q sets) +%\usepackage{amsthm} % allow blackboard bold (aka N,R,Q sets) +\usepackage{graphicx} +\usepackage[numbers]{natbib} +%\usepackage{a4wide} +%\usepackage{subfigure} +\usepackage{caption} +\usepackage{subcaption} +%\usepackage{listings} +%\usepackage{caption} +%\usepackage{enumitem} +%\usepackage{multicol} +\usepackage{hyperref} +%\usepackage{csvsimple} +%\usepackage{geometry} +%\usepackage{pdflscape} +%\usepackage[nottoc]{tocbibind} + + +%\usepackage{biblatex} +%\usepackage{cite} +%\usepackage{natbib} +\usepackage{url} +%\newcommand*{\fpair}{\ensuremath{\rightleftharpoons}} +%\DeclareMathOperator{\sinc}{sinc} +%\newtheorem{guess}{Hypothesis} +%\newtheorem{hypolist}{Hypothesis}[chapter] + +%\bibliography{test.bib} + + +%\linespread{1.2} % double spaces lines + +%\textwidth 7truein%6.5truein % These 4 commands define more efficient margins +%\textheight 9.5truein +%\oddsidemargin 0.0in +%\topmargin -1.3in%-0.6in + +%\parindent 0pt % let's not indent paragraphs +%\parskip 0pt % Also, a bit of space between paragraphs + +%\addbibresource{Proj} + +\urldef{\mails}\path|{d.j.moffat, elaine.chew}@qmul.ac.uk| +%\newcommand{\keywords}[1]{\par\addvspace\baselineskip + + + +\begin{document} + +\mainmatter + +\title{Do We Sing Like We Speak? \\ A Comparison of Question Intonation Patterns and Melodic Profile in Songs} +\titlerunning{Do We Sing Like We Speak?} + +%\author{Dave Moffat and Elaine Chew} +%\institute{Center For Digital Music \\ Queen Mary University London \\ Mile End Road, London, E1 4NS \\ \mails} + +\maketitle + +\begin{abstract} +This paper investigates whether intonation patterns in spoken language map to melodic profile patterns in music. The study focuses on polar (yes/no) and interrogative (wh) questions, and commonly found terminal intonation patterns for these kinds of questions in British English. We analyse the f0 of the main melody of 50 audio excerpts, from 49 different British pop songs by 47 distinct artists, for which the lyrics correspond to the desired questions types. Comparing the f0 of the main melody to the intonation patterns observed in authentic conversation, we test the null hypothesis that there is no correlation between question intonation patterns in speech and melodic profiles in songs with question lyrics. The data rejects the hypothesis, and we conclude that intonation patterns of questions in speech and in song melodies are correlated. +\keywords{music and speech, prosody, intonation, melodic profile, song lyrics, questions} +\end{abstract} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Introduction} +There are many different types of questions that are commonly found within English language, and there are standard models of the common intonation patterns within British English speech. Within speech, there is a natural intonation pattern that is applied when someone utters a question and this paper aims to compare the intonations to the melody of questions as they appear in popular music. This paper compares the fundamental frequency (f0) pattern of the same song melody and the natural English speech intonation of same statement. The remit of this paper is to compare the intonation pattern of questions within music and natural speech in British English. + +This paper is organised as follows: +The introduction will discuss the motivation behind this work. +Section \ref{sec:Method} will present a literature review on common speech question intonation patterns and then explain the work undertaken as part of this project and how the analysis will be performed. +Section \ref{sec:dataSet} will describe the data set that was collected as part of this project and how it was collected. +The results of the analyses of this data set will be presented in Section \ref{sec:Results} and the results will be presented in Section \ref{sec:Disc}. Conclusions will be drawn from this project and potential further work presented in Section \ref{sec:Conc}. + +\subsection{Motivation} +The study of intonation and the correlating of speech and language represents interesting and useful work for music analysts, and assist in the understanding of the art of composing melodies. It would also potentially provide useful insight into the psychology behind written music and musical structures. This work provides a first step towards the universal comparison of intonation patterns within songs and music, which could introduce many applications of this work, including generative melody, based on a piece of text, allowing an automated rule based structure for allowing any written text to be turned into a musical performance. This could be beneficial as a potential memory technique, allowing an automated text to song generator could then be used to get a song stuck in your head and with recalling the melody the lyrics could be associated \citep{wiering2007can}. + +Language comparison and the way in which different language intonations and song intonation correlate could be an interesting extension of this work, with the potential for new language learning and intonation pattern learning techniques based on music and songs \citep{nichols2009relationships, zatorre2012musical}. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Does this section need a rewrite? +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +The results from this paper could progress research in a wide range of potential directions for music and speech intonation. The possibilities for further research, focusing on other areas of natural speech intonation and how speech intonation related to musical melodies could prove a very useful tool for research in the music information retrieval (MIR) field, along with musicologists, music psychologists and linguists \citep{wiering2007can}. +The potential for further research in comparison of intonation and music could also provide interesting exploration into international music, where the song is written in one country and language, but listened to in another, and its social impact on the language in the countries. Further studies into the musical call and response patterns and their correlation with natural language speech patterns could provide some valuable insight into the evolution of spoken language and social interactions. +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Background} +\label{sec:Background} + +There is little research on the that correlates music and speech. \citet{zatorre2012musical} evaluates the differences between human perception of music and speech, particularly the interval and frequency patterns.\citet{ross2007musical} explores musical intervals and standard western music chord structure and correlates this with speech intervals. \citet{list1963boundaries} identifies the fundamental differences between music and speech, discussing classification differences between the two sets of sound. \citet{fonagy1963emotional} attempts to classify both music and speech data sets into emotional categories based on melodic patterns + +There is no existing work can be found that correlates the intonation patterns with melodic profiles in music. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Method} +\label{sec:Method} + +This section will present the method that will be implemented for this paper, with relation to the dataset collected as discussed in Section \ref{sec:dataSet}. +A linguistic literature review will be presented, followed by a brief explanation of the data set to be collected, and then we shall present the analysis method used within this paper. + + +\subsection{Speech Intonation for Comparison} + +Phonetics is the branch of linguistics that studies noises made as part of normal speech, including intonation patterns. Within this field, there are many studies into intonation relating to questions or different languages, but minimal studies with the aim of comparison with music. This section will discuss previous work on speech intonation relating to questions and produce a phonetic model for comparison to our data set collected. There are several different types of question, and for the purpose of this paper we will be focusing on polar questions, which are questions with a yes or no response, and `wh' questions, that are questions with an interrogative word, such as who or how \citep{Pijper}. For the purpose of this paper, the focus will be on the terminal intonation, the pattern of the end of the sentence, where the intonation patterns are most regular relating to questions \citep{eady1982differences, grabe2005intonation, hirst1998intonation}. Terminal phonetic patterns can be described in several manners, this paper will discuss intonation by the manner of change in the pitch. + +Figure \ref{intonationPatterns} demonstrates the phrasing and type of frequency pattern that would be expected. This model will be used throughout this paper. +\begin{figure} +\centering +\includegraphics[height=0.244\textheight, clip, trim = 10 8 10 10]{dia/intonationModel} +\caption{Intonation Pattern Models} +\label{intonationPatterns} +\end{figure} + +\citet{grabe2005intonation} present the argument that both `wh' and polar questions most commonly have a falling intonation pattern, though within polar questions the match was only 44\% of questions matching this pattern. \citet{intonationEng1961} present the argument for a low rise effect in polar questions and \citet{cruttenden1970so} suggest that a low rise or a fall are both suitable models for `wh' questions. \citet{huynhquestion} compared intonation patterns within conversation and the textbook intonation patterns, and an excerpt is presented in Table \ref{intPattHuynh}. + +\begin{table*} +\caption{Speech Intonation Patterns From \citep{huynhquestion}} +\label{intPattHuynh} +\centering +\begin{tabular}{|c|c c|} +\hline +Intonation Pattern& Authentic conversation &Textbook \\ +\hline +\hline +Wh-question &Rising-falling &Rising-Falling \\ +& Falling-rising &\\ +Yes/ No questions & Falling-Rising & Falling-Rising \\ +& Terminal falling pitch & \\ +\hline +\end{tabular} +\end{table*} + +For the purposes of this paper, songs will grouped into the terminal intonation pattern groups, as either rise-fall, rise, fall, fall-rise, or hold. These groups will be compared against the textbook intonation patterns and general opinion of intonation. + +\subsection{Data Set} +A data set will be produced as part of this paper. This data set will consist of a series of musical excerpts, cut from British English popular music. The tracks will be identified as either a polar question or a `wh' question. These question types will then be compared to a standard linguistic intonation model. Where question lyrics appear in a song, the fundamental frequency (f0) will be isolated and mapped. + +\subsection{Analysis} +%To analyse the results and compare the speech intonation to song lyric f0 track, a hypothesis is first produced: +%\begin{description} +%\item[Hypothesis] {\it The intonation patterns of questions within speech and music are correlated.} +%\end{description} + +The intonation patterns, abstracted from the audio data, each song will be classified dependant on the terminal intonation pattern that it follows. +%The results will be modelled and the mean of each intonation model will be plotted. These results can then be compared to standard textbook speech intonation patterns for the given question types. +It is hypothesised that the intonation patterns of questions within speech and music are correlated. The dataset will be analysed and comparing the song lyric f0 track to a dataset of speech intonation patterns for questions. The dataset for comparison, consists of over 500 question intonation patterns for standard British English speech from a range of dialects, and is taken from \cite{grabe2005intonation}. From this, it will be apparent how many of the song intonation patterns follow with the common speech patterns, and the results will be concluded. + + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Data Set} +\label{sec:dataSet} +As part of this paper, a dataset was produced including collection, editing and analysis to produce a map of the fundamental frequency of the lyrics of each song. This section will discuss the collection and production of this data set. + +\subsection{Data Set Selection} +A selection of fifty audio clips from forty-nine different songs and forty-seven different performers was selected. This data set was collected on the principal of the performer being British English. The songs were selected from a range of British Pop music with the year published over the past 60 years. The full data set is listed in the appendix \citep{app} + +The songs were selected had different question types in them, and each question type will be analysed within its groups to speech intonation patterns. The songs were classified, into two different categories, either polar questions or `wh' questions. + +\subsection{Data Set Production} +The data set was edited from audio tracks, and the appropriate section of audio was cut out using \cite{Logic} software on an Apple Macbook Pro. From this the f0 was attained by the use of Tony software \citep{TONY} (which uses the pYIN algorithm from\cite{matthias2014a}). A range of proposed f0 tracks are proposed by the software and the correct f0 that represents the song lyrics as they are sung, is selected manually. Figure \ref{TonyScreen} provides a screenshot of a selected track, in the Tony annotation environment. This provides a series of non-linear data points. The data is then smoothed with a moving average window of 50 samples wide and plotted in MATLAB, as can be seen in Figure \ref{MatlabT38}. + + +\begin{figure} +\centering +\includegraphics[width=0.95\textwidth]{dia/TonyScreen} +\caption{A Screenshot of the Tony Annotation Environment - Question ``Who are you?'' from the song ``Who are you?'' by The Who } +\label{TonyScreen} +\end{figure} + +\begin{figure} +\centering +\includegraphics[width=0.8\textwidth, clip, trim = 90 40 60 30]{dia/T38Plot} +\caption{The MATLAB plot of the annotation data, smoothed and normalised by both time and frequency, of data from Figure \ref{TonyScreen}} +\label{MatlabT38} +\end{figure} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Results} +\label{sec:Results} + +In this section the results of comparing the f0 of the lyrics is compared to the expected intonation patterns, as occur in natural speech. + +The results of the f0 were categorised as either a pitch rise-fall, a pitch fall or some other pitch pattern and the classification can be seen in Table \ref{songIntClass} and \ref{songIntClassPer}. The f0 track of every song can be found in the appendix \citep{app}.% and the results are presented in more detail in Sections \ref{whres} and \ref{ynres}. + +\begin{table*} +\caption{Intonation Pattern of Song Lyric Intonation Classification} +\label{songIntClass} +\centering +\begin{tabular}{|c|c c c c|c|} +\hline +Question Type & Rise-fall & Fall-Rise & Fall & Other & Total\\ +\hline +\hline +Wh-question & 11 & 6 & 5 & 3 & 25 \\ +Yes/ No questions & 11 & 2 & 7 & 5 & 25 \\ +\hline +All Questions & 22 &8 & 12 & 8 & 50 \\ +\hline +\end{tabular} +\end{table*} + + +\begin{table*} +\caption{Intonation Pattern of Song Lyric Intonation Classification as Percentage} +\label{songIntClassPer} +\centering +\begin{tabular}{|c|c c c c|} +\hline +Question Type & Rise-fall & Fall-Rise & Fall & Other \\ +\hline +\hline +Wh-question & 44\% & 24\% & 20\% & 12\% \\ +Yes/ No questions & 44\% & 8\% & 28\% & 20\% \\ +\hline +All Questions & 44\% & 16\% & 24\% & 16\% \\ +\hline +\end{tabular} +\end{table*} + +It can be seen that the majority of questions follow the terminal fall intonation pattern. + +The mean f0 has been plotted for `wh' questions with a falling and rise-fall intonation patterns in Figure \ref{WHFMean} and Figure \ref{WHRFMean} respectfully. All `wh' question intonation patterns with a falling intonation have been plotted in Figure \ref{WHFMean-All}, with the mean f0 plotted in bold as a comparison, to demonstrate the spread of the data presented and likewise for the rising-falling intonations in Figure \ref{WHRFMean-All}. + +\begin{figure} + \centering + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-F-IMean} + \caption{Mean Falling Intonation} + \label{WHFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-RF-IMean} + \caption{Mean Rising-Falling Intonation} + \label{WHRFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-F-IMean-ALL} + \caption{All Falling Intonations with Mean in Bold} + \label{WHFMean-All} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-RF-IMean-ALL} + \caption{All Rising-Falling Intonations with Mean in Bold} + \label{WHRFMean-All} + \end{subfigure} + \caption{`Wh' Question Mean Frequency Plot}\label{WHMean} +\end{figure} + +The mean f0 of polar questions with a falling and rise-fall intonation patterns are plotted in Figure \ref{YNFMean} and Figure \ref{YNRFMean} respectfully. +\begin{figure} + \centering + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-F-IMean} + \caption{Falling Intonation Mean} + \label{YNFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-RF-IMean} + \caption{Rising-Falling Intonation Mean} + \label{YNRFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-F-IMean-ALL} + \caption{All Falling Intonations with Mean in Bold} + \label{YNFMean+All} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-RF-IMean-ALL} + \caption{All Rising-Falling Intonations with Mean in Bold} + \label{YNRFMean+All} + \end{subfigure} + \caption{Polar Question Mean Frequency Plot} + \label{WHMean} +\end{figure} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Discussion} +\label{sec:Disc} + +It can be seen from Table \ref{songIntClassPer}, that the majority of questions followed the falling intonation pattern. This correlates with the speech intonation patterns cited in \citet{grabe2005intonation}, who suggested that questions should all have a terminal falling intonation pattern. Both rise-fall and fall intonations have a terminal fall intonation pattern, and thus 64\% of interrogative questions and 72\% of polar questions have a terminal falling intonation. +These results also concur with authentic conversations intonation from \citet{huynhquestion} and standard intonation patterns as proposed by \citet{cruttenden1970so} regarding the terminal intonation pitch as a falling pattern. Thus our hypothesis that the intonation patterns of questions within speech and music are correlated. has been agreed. + +These results are statistically analysed to verify correlations. A set of example data is taken from \citet{grabe2005intonation}, where speech intonation patterns for `Wh' and polar question intonation patterns are given. This provides us with a set of comparative data, which can be used to calculate the correlation between our gathered dataset and some other real world data, in an attempt to prove our hypothesis. + +\begin{table*}[h!] +\caption{Intonation Pattern for Questions from \citet{grabe2005intonation}} +\label{Grabe} +\centering +\begin{tabular}{|c|*7c|} +\hline +Intonation & \multicolumn{3}{c}{`Wh' Questions} & \multicolumn{3}{c}{Polar Questions} & Total \\ + & Cambridge& Newcastle& Belfast& Cambridge& Newcastle& Belfast& \\ +\hline\hline + RF & 0 &18 &0 &0 &0 &0 &18 \\ + FR & 19 &24 &90 &30 &32 &24 &219 \\ + F & 57 &42 &0 &36 &25 &0 &160 \\ + R & 32 &12 &12 &18 &0 &66 &140 \\ + H & 0 &0 &0 &0 &0 &0 &0 \\ + \hline +Total& 108 &96 &102 &84 &57 &90 &537 \\ +\hline +\end{tabular} +\end{table*} + +\begin{table*}[h!] +\caption{$\chi^2$ Value and Probability of Null Hypothesis for Different Question Types} +\label{evalRes} +\centering +\begin{tabular}{| p{8em} |c c c|} +%\rule{0pt}{4ex} +\hline +Question Type & $\chi^2$ &\quad\quad& P(Null Hypothesis) \\ +\hline\hline +`Wh' Questions & 55.17 && 0 \\ +Polar Questions & 119.2 && 0 \\ +\hline +\end{tabular} +\end{table*} + +Question results used from \citet{grabe2005intonation} are presented in Table \ref{Grabe}. This data was used to verify the null hypothesis there is no correlation between speech intonation patterns and song lyric intonation patterns. + +The $\chi^2$ value was calculated, as a test of independence between the gather dataset and the \citet{grabe2005intonation} dataset and the results are presented in table \ref{evalRes}. It can be seen from table \ref{evalRes}, the null hypothesis has been disproved, with over 99\% confidence and therefore there is a correlation between song lyric intonation patterns where questions are present and in speech, in British English. + +There are strong and statistically significant correlations between the song lyric dataset and the Grabe question dataset. It is the conclusion of this work that speech intonation patterns correlate strongly with the pitch of melodies within popular music containing questions, and these results have been justified as statistically significant. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Conclusion} +\label{sec:Conc} + +This paper presents how a dataset of 50 excerpts of British Pop music was produced, where every excerpt consists of a song lyric containing a question. These song lyric melodic profiles were annotated and classified, using linguistic techniques, with regards to their terminal intonation pattern. These terminal intonation patterns were then compared to textbook speech intonation patterns and a summarised dataset taken from \citet{grabe2005intonation}, to verify the null hypothesis that there is no correlation between speech intonation patterns and song lyric intonation patterns. The null hypothesis was rejected and we conclude that there are correlations between the intonation patterns of questions in speech and song melodies. + +\section{Further Work} + +This paper has revealed a range of potential further work in this field. It is possible to extend this work by focusing on dialects of specific song writers, to clarify that song writers do indeed follow their specific dialects intonation patterns. As discussed in \citet{grabe2005intonation}, there are a range of dialects, each with their own intonation patterns that follow, and so further detailed study in this area could be performed. This could also be extended to clarify if there are any differences in the linguistic patterns based if the melody is written and lyrics fitted to the melody, or if the song writing process attempts to fit a melody to the lyrics. + +This work could be extended to review a larger range of languages and dialects, or to review other musical genres other than British Pop music. This may allow further work to be carried out with the use of symbolic data, rather than requiring manual annotation of songs, which could easily allow for a significant increase in dataset with access to the musical scores and song lyrics. + + +\bibliographystyle{splncsnat} +\renewcommand\bibname{References} +\bibliography{bibl} +\nocite{*} + +%\end{multicols} + + +%\appendix + +% +%\newpage +%\newgeometry{margin=2cm} % modify this if you need even more space +%\begin{landscape} +% +%\section{Data Set} +%\label{sec:app} +% +%\begin{table}[htdp] +%\caption{Full Analysed Data Set} +%\begin{center} +%\csvautotabular{data/dataSet2.csv} +%\end{center} +%\label{tab:dataSet} +%\end{table} +% +% +%\end{landscape} +%\restoregeometry +% +%\section{Graphs} +%\label{app:graphs} +% +% +%\input{app.tex} + + +\end{document} + + +
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/Old/_Report.tex Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,411 @@ + +\documentclass[runningheads,a4paper]{llncs} + +%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%% +%Comment this package before submission +%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%% +%\usepackage{refcheck} +%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%% + + + + + +%\usepackage{amsmath} % just math +%\usepackage{amssymb} % allow blackboard bold (aka N,R,Q sets) +%\usepackage{amsthm} % allow blackboard bold (aka N,R,Q sets) +\usepackage{graphicx} +\usepackage[numbers]{natbib} +%\usepackage{a4wide} +%\usepackage{subfigure} +\usepackage{caption} +\usepackage{subcaption} +%\usepackage{listings} +%\usepackage{caption} +%\usepackage{enumitem} +%\usepackage{multicol} +\usepackage{hyperref} +%\usepackage{csvsimple} +%\usepackage{geometry} +%\usepackage{pdflscape} +%\usepackage[nottoc]{tocbibind} + + +%\usepackage{biblatex} +%\usepackage{cite} +%\usepackage{natbib} +\usepackage{url} +%\newcommand*{\fpair}{\ensuremath{\rightleftharpoons}} +%\DeclareMathOperator{\sinc}{sinc} +%\newtheorem{guess}{Hypothesis} +%\newtheorem{hypolist}{Hypothesis}[chapter] + +%\bibliography{test.bib} + + +%\linespread{1.2} % double spaces lines + +%\textwidth 7truein%6.5truein % These 4 commands define more efficient margins +%\textheight 9.5truein +%\oddsidemargin 0.0in +%\topmargin -1.3in%-0.6in + +%\parindent 0pt % let's not indent paragraphs +%\parskip 0pt % Also, a bit of space between paragraphs + +%\addbibresource{Proj} + +\urldef{\mails}\path|{d.j.moffat, elaine.chew}@qmul.ac.uk| +%\newcommand{\keywords}[1]{\par\addvspace\baselineskip + + + +\begin{document} + +\mainmatter + +\title{Do We Sing Like We Speak? \\ A Comparison of Question Intonation Patterns and Melodic Profile in Songs} +\titlerunning{Do We Sing Like We Speak?} + +%\author{Dave Moffat and Elaine Chew} +%\institute{Center For Digital Music \\ Queen Mary University London \\ Mile End Road, London, E1 4NS \\ \mails} + +\maketitle + +\begin{abstract} +This paper investigates whether intonation patterns in spoken language map to melodic profile patterns in music. The study focuses on polar (yes/no) and interrogative (wh) questions, and commonly found terminal intonation patterns for these kinds of questions in British English. We analyse the f0 of the main melody of 50 audio excerpts, from 49 different British pop songs by 47 distinct artists, for which the lyrics correspond to the desired questions types. Comparing the f0 of the main melody to the intonation patterns observed in authentic conversation, we test the null hypothesis that there is no correlation between question intonation patterns in speech and melodic profiles in songs with question lyrics. The data rejects the hypothesis, and we conclude that intonation patterns of questions in speech and in song melodies are correlated. +\keywords{music and speech, prosody, intonation, melodic profile, song lyrics, questions} +\end{abstract} + +%\paragraph{Main Idea} describe the project +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Introduction} +There are many different types of questions that are commonly found within English language, and there are standard models of the common intonation patterns within British English speech. Within speech, there is a natural intonation pattern that is applied when someone utters a question and this paper aims to compare the intonations to the melody of questions as they appear in popular music. This paper compares the fundamental frequency (f0) pattern of the same song melody and the natural English speech intonation of same statement. The remit of this paper is to compare the intonation pattern of questions within music and natural speech in British English. + +This paper is organised as follows: +The introduction will discuss the motivation behind this work. +Section \ref{sec:Method} will present a literature review on common speech question intonation patterns and then explain the work undertaken as part of this project and how the analysis will be performed. +Section \ref{sec:dataSet} will describe the data set that was collected as part of this project and how it was collected. +The results of the analyses of this data set will be presented in Section \ref{sec:Results} and the results will be presented in Section \ref{sec:Disc}. Conclusions will be drawn from this project and potential further work presented in Section \ref{sec:Conc}. + +\subsection{Motivation} +The study of intonation and the correlating of speech and language represents interesting and useful work for music analysts, and assist in the understanding of the art of composing melodies. It would also potentially provide useful insight into the psychology behind written music and musical structures. This work provides a first step towards the universal comparison of intonation patterns within songs and music, which could introduce many applications of this work, including generative melody, based on a piece of text, allowing an automated rule based structure for allowing any written text to be turned into a musical performance. This could be beneficial as a potential memory technique, allowing an automated text to song generator could then be used to get a song stuck in your head and with recalling the melody the lyrics could be associated \citep{wiering2007can}. + +Language comparison and the way in which different language intonations and song intonation correlate could be an interesting extension of this work, with the potential for new language learning and intonation pattern learning techniques based on music and songs \citep{nichols2009relationships, zatorre2012musical}. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +The results from this paper could progress research in a wide range of potential directions for music and speech intonation. The possibilities for further research, focusing on other areas of natural speech intonation and how speech intonation related to musical melodies could prove a very useful tool for research in the music information retrieval (MIR) field, along with musicologists, music psychologists and linguists \citep{wiering2007can}. +The potential for further research in comparison of intonation and music could also provide interesting exploration into international music, where the song is written in one country and language, but listened to in another, and its social impact on the language in the countries. Further studies into the musical call and response patterns and their correlation with natural language speech patterns could provide some valuable insight into the evolution of spoken language and social interactions. +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%\section{Background} +%\label{sec:Background} +%WRITE THIS SECTION + + +%%%%%%%%%%% +%- Lit Review???? +%%%%%%%%%%% + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Method} +\label{sec:Method} + +This section will present the method that will be implemented for this paper, with relation to the dataset collected as discussed in Section \ref{sec:dataSet}. +A linguistic literature review will be presented, followed by a brief explanation of the data set to be collected, and then we shall present the analysis method used within this paper. + + +\subsection{Speech Intonation for Comparison} + +Phonetics is the branch of linguistics that studies noises made as part of normal speech, including intonation patterns. Within this field, there are many studies into intonation relating to questions or different languages, but minimal studies with the aim of comparison with music. This section will discuss previous work on speech intonation relating to questions and produce a phonetic model for comparison to our data set collected. There are several different types of question, and for the purpose of this paper we will be focusing on polar questions, which are questions with a yes or no response, and `wh' questions, that are questions with an interrogative word, such as who or how \citep{Pijper}. For the purpose of this paper, the focus will be on the terminal intonation, the pattern of the end of the sentence, where the intonation patterns are most regular relating to questions \citep{eady1982differences, grabe2005intonation, hirst1998intonation}. Terminal phonetic patterns can be described in several manners, this paper will discuss intonation by the manner of change in the pitch. + +Figure \ref{intonationPatterns} demonstrates the phrasing and type of frequency pattern that would be expected. This model will be used throughout this paper. +\begin{figure} +\begin{center} +\includegraphics[height=0.244\textheight, clip, trim = 10 8 10 10]{dia/intonationModel} +\caption{Intonation Pattern Models} +\label{intonationPatterns} +\end{center} +\end{figure} + +\citet{grabe2005intonation} present the argument that both `wh' and polar questions most commonly have a falling intonation pattern, though within polar questions the match was only 44\% of questions matching this pattern. \citet{intonationEng1961} present the argument for a low rise effect in polar questions and \citet{cruttenden1970so} suggest that a low rise or a fall are both suitable models for `wh' questions. \citet{huynhquestion} compared intonation patterns within conversation and the textbook intonation patterns, and an excerpt is presented in Table \ref{intPattHuynh}. + +\begin{table*} +\caption{Speech Intonation Patterns From \citep{huynhquestion}} +\label{intPattHuynh} +\begin{center} +\begin{tabular}{|c|c c|} +\hline +Intonation Pattern& Authentic conversation &Textbook \\ +\hline +\hline +Wh-question &Rising-falling &Rising-Falling \\ +& Falling-rising &\\ +Yes/ No questions & Falling-Rising & Falling-Rising \\ +& Terminal falling pitch & \\ +\hline +\end{tabular} +\end{center} +\end{table*} + +For the purposes of this paper, songs will grouped into the terminal intonation pattern groups, as either rise-fall, rise, fall, fall-rise, or hold. These groups will be compared against the textbook intonation patterns and general opinion of intonation. + +\subsection{Data Set} +A data set will be produced as part of this paper. This data set will consist of a series of musical excerpts, cut from British English popular music. The tracks will be identified as either a polar question or a `wh' question. These question types will then be compared to a standard linguistic intonation model. Where question lyrics appear in a song, the fundamental frequency (f0) will be isolated and mapped. + +\subsection{Analysis} +%To analyse the results and compare the speech intonation to song lyric f0 track, a hypothesis is first produced: +%\begin{description} +%\item[Hypothesis] {\it The intonation patterns of questions within speech and music are correlated.} +%\end{description} + +The intonation patterns, abstracted from the audio data, each song will be classified dependant on the terminal intonation pattern that it follows. +%The results will be modelled and the mean of each intonation model will be plotted. These results can then be compared to standard textbook speech intonation patterns for the given question types. +It is hypothesised that the intonation patterns of questions within speech and music are correlated. The dataset will be analysed and comparing the song lyric f0 track to a dataset of speech intonation patterns for questions. The dataset for comparison, consists of over 500 question intonation patterns for standard British English speech from a range of dialects, and is taken from \cite{grabe2005intonation}. From this, it will be apparent how many of the song intonation patterns follow with the common speech patterns, and the results will be concluded. + + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Data Set} +\label{sec:dataSet} +As part of this paper, a dataset was produced including collection, editing and analysis to produce a map of the fundamental frequency of the lyrics of each song. This section will discuss the collection and production of this data set. + +\subsection{Data Set Selection} +A selection of fifty audio clips from forty-nine different songs and forty-seven different performers was selected. This data set was collected on the principal of the performer being British English. The songs were selected from a range of British Pop music with the year published over the past 60 years. The full data set is listed in the appendix \citep{app} + +The songs were selected had different question types in them, and each question type will be analysed within its groups to speech intonation patterns. The songs were classified, into two different categories, either polar questions or `wh' questions. + +\subsection{Data Set Production} +The data set was edited from audio tracks, and the appropriate section of audio was cut out using \cite{Logic} software on an Apple Macbook Pro. From this the f0 was attained by the use of Tony software \citep{TONY} (which uses the pYIN algorithm from\cite{matthias2014a}). A range of proposed f0 tracks are proposed by the software and the correct f0 that represents the song lyrics as they are sung, is selected manually. Figure \ref{TonyScreen} provides a screenshot of a selected track, in the Tony annotation environment. This provides a series of non-linear data points. The data is then smoothed with a moving average window of 50 samples wide and plotted in MATLAB, as can be seen in Figure \ref{MatlabT38}. + + +\begin{figure} +\begin{center} +\includegraphics[width=0.95\textwidth]{dia/TonyScreen} +\caption{A Screenshot of the Tony Annotation Environment - Question ``Who are you?'' from the song ``Who are you?'' by The Who } +\label{TonyScreen} +\end{center} +\end{figure} + +\begin{figure} +\begin{center} +\includegraphics[width=0.8\textwidth, clip, trim = 90 40 60 30]{dia/T38Plot} +\caption{The MATLAB plot of the annotation data, smoothed and normalised by both time and frequency, of data from Figure \ref{TonyScreen}} +\label{MatlabT38} +\end{center} +\end{figure} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Results} +\label{sec:Results} + +In this section the results of comparing the f0 of the lyrics is compared to the expected intonation patterns, as occur in natural speech. + +The results of the f0 were categorised as either a pitch rise-fall, a pitch fall or some other pitch pattern and the classification can be seen in Table \ref{songIntClass} and \ref{songIntClassPer}. The f0 track of every song can be found in the appendix \citep{app}.% and the results are presented in more detail in Sections \ref{whres} and \ref{ynres}. + +\begin{table*} +\caption{Intonation Pattern of Song Lyric Intonation Classification} +\label{songIntClass} +\begin{center} +\begin{tabular}{|c|c c c c|c|} +\hline +Question Type & Rise-fall & Fall-Rise & Fall & Other & Total\\ +\hline +\hline +Wh-question & 11 & 6 & 5 & 3 & 25 \\ +Yes/ No questions & 11 & 2 & 7 & 5 & 25 \\ +\hline +All Questions & 22 &8 & 12 & 8 & 50 \\ +\hline +\end{tabular} +\end{center} +\end{table*} + + +\begin{table*} +\caption{Intonation Pattern of Song Lyric Intonation Classification as Percentage} +\label{songIntClassPer} +\begin{center} +\begin{tabular}{|c|c c c c|} +\hline +Question Type & Rise-fall & Fall-Rise & Fall & Other \\ +\hline +\hline +Wh-question & 44\% & 24\% & 20\% & 12\% \\ +Yes/ No questions & 44\% & 8\% & 28\% & 20\% \\ +\hline +All Questions & 44\% & 16\% & 24\% & 16\% \\ +\hline +\end{tabular} +\end{center} +\end{table*} + +It can be seen that the majority of questions follow the terminal fall intonation pattern. + +The mean f0 has been plotted for `wh' questions with a falling and rise-fall intonation patterns in Figure \ref{WHFMean} and Figure \ref{WHRFMean} respectfully. All `wh' question intonation patterns with a falling intonation have been plotted in Figure \ref{WHFMean-All}, with the mean f0 plotted in bold as a comparison, to demonstrate the spread of the data presented and likewise for the rising-falling intonations in Figure \ref{WHRFMean-All}. + +\begin{figure} + \centering + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-F-IMean} + \caption{Mean Falling Intonation} + \label{WHFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-RF-IMean} + \caption{Mean Rising-Falling Intonation} + \label{WHRFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-F-IMean-ALL} + \caption{All Falling Intonations with Mean in Bold} + \label{WHFMean-All} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-RF-IMean-ALL} + \caption{All Rising-Falling Intonations with Mean in Bold} + \label{WHRFMean-All} + \end{subfigure} + \caption{`Wh' Question Mean Frequency Plot}\label{WHMean} +\end{figure} + +The mean f0 of polar questions with a falling and rise-fall intonation patterns are plotted in Figure \ref{YNFMean} and Figure \ref{YNRFMean} respectfully. +\begin{figure} + \centering + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-F-IMean} + \caption{Falling Intonation Mean} + \label{YNFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-RF-IMean} + \caption{Rising-Falling Intonation Mean} + \label{YNRFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-F-IMean-ALL} + \caption{All Falling Intonations with Mean in Bold} + \label{YNFMean+All} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-RF-IMean-ALL} + \caption{All Rising-Falling Intonations with Mean in Bold} + \label{YNRFMean+All} + \end{subfigure} + \caption{Polar Question Mean Frequency Plot} + \label{WHMean} +\end{figure} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Discussion} +\label{sec:Disc} + +It can be seen from Table \ref{songIntClassPer}, that the majority of questions followed the falling intonation pattern. This correlates with the speech intonation patterns cited in \citet{grabe2005intonation}, who suggested that questions should all have a terminal falling intonation pattern. Both rise-fall and fall intonations have a terminal fall intonation pattern, and thus 64\% of interrogative questions and 72\% of polar questions have a terminal falling intonation. +These results also concur with authentic conversations intonation from \citet{huynhquestion} and standard intonation patterns as proposed by \citet{cruttenden1970so} regarding the terminal intonation pitch as a falling pattern. Thus our hypothesis that the intonation patterns of questions within speech and music are correlated. has been agreed. + +These results are statistically analysed to verify correlations. A set of example data is taken from \citet{grabe2005intonation}, where speech intonation patterns for `Wh' and polar question intonation patterns are given. This provides us with a set of comparative data, which can be used to calculate the correlation between our gathered dataset and some other real world data, in an attempt to prove our hypothesis. + +\begin{table*}[h!] +\caption{Intonation Pattern for Questions from \citet{grabe2005intonation}} +\label{Grabe} +\begin{center} +\begin{tabular}{|c|*7c|} +\hline +Intonation & \multicolumn{3}{c}{`Wh' Questions} & \multicolumn{3}{c}{Polar Questions} & Total \\ + & Cambridge& Newcastle& Belfast& Cambridge& Newcastle& Belfast& \\ +\hline\hline + RF & 0 &18 &0 &0 &0 &0 &18 \\ + FR & 19 &24 &90 &30 &32 &24 &219 \\ + F & 57 &42 &0 &36 &25 &0 &160 \\ + R & 32 &12 &12 &18 &0 &66 &140 \\ + H & 0 &0 &0 &0 &0 &0 &0 \\ + \hline +Total& 108 &96 &102 &84 &57 &90 &537 \\ +\hline +\end{tabular} +\end{center} +\end{table*} + +\begin{table*}[h!] +\caption{$\chi^2$ Value and Probability of Null Hypothesis for Different Question Types} +\label{evalRes} +\begin{center} +\begin{tabular}{| p{8em} |c c c|} +%\rule{0pt}{4ex} +\hline +Question Type & $\chi^2$ &\quad\quad& P(Null Hypothesis) \\ +\hline\hline +`Wh' Questions & 55.17 && 0 \\ +Polar Questions & 119.2 && 0 \\ +\hline +\end{tabular} +\end{center} +\end{table*} + +Question results used from \citet{grabe2005intonation} are presented in Table \ref{Grabe}. This data was used to verify the null hypothesis there is no correlation between speech intonation patterns and song lyric intonation patterns. + +The $\chi^2$ value was calculated, as a test of independence between the gather dataset and the \citet{grabe2005intonation} dataset and the results are presented in table \ref{evalRes}. It can be seen from table \ref{evalRes}, the null hypothesis has been disproved, with over 99\% confidence and therefore there is a correlation between song lyric intonation patterns where questions are present and in speech, in British English. + +There are strong and statistically significant correlations between the song lyric dataset and the Grabe question dataset. It is the conclusion of this work that speech intonation patterns correlate strongly with the pitch of melodies within popular music containing questions, and these results have been justified as statistically significant. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Conclusion} +\label{sec:Conc} + +This paper presents how a dataset of 50 excerpts of British Pop music was produced, where every excerpt consists of a song lyric containing a question. These song lyric melodic profiles were annotated and classified, using linguistic techniques, with regards to their terminal intonation pattern. These terminal intonation patterns were then compared to textbook speech intonation patterns and a summarised dataset taken from \citet{grabe2005intonation}, to verify the null hypothesis that there is no correlation between speech intonation patterns and song lyric intonation patterns. The null hypothesis was rejected and we conclude that there are correlations between the intonation patterns of questions in speech and song melodies. + +\section{Further Work} + +This paper has revealed a range of potential further work in this field. It is possible to extend this work by focusing on dialects of specific song writers, to clarify that song writers do indeed follow their specific dialects intonation patterns. As discussed in \citet{grabe2005intonation}, there are a range of dialects, each with their own intonation patterns that follow, and so further detailed study in this area could be performed. This could also be extended to clarify if there are any differences in the linguistic patterns based if the melody is written and lyrics fitted to the melody, or if the song writing process attempts to fit a melody to the lyrics. + +This work could be extended to review a larger range of languages and dialects, or to review other musical genres other than British Pop music. This may allow further work to be carried out with the use of symbolic data, rather than requiring manual annotation of songs, which could easily allow for a significant increase in dataset with access to the musical scores and song lyrics. + + +\bibliographystyle{splncsnat} +\renewcommand\bibname{References} +\bibliography{bibl} +\nocite{*} + +%\end{multicols} + + +%\appendix + +% +%\newpage +%\newgeometry{margin=2cm} % modify this if you need even more space +%\begin{landscape} +% +%\section{Data Set} +%\label{sec:app} +% +%\begin{table}[htdp] +%\caption{Full Analysed Data Set} +%\begin{center} +%\csvautotabular{data/dataSet2.csv} +%\end{center} +%\label{tab:dataSet} +%\end{table} +% +% +%\end{landscape} +%\restoregeometry +% +%\section{Graphs} +%\label{app:graphs} +% +% +%\input{app.tex} + + +\end{document} + + +
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--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/Presentation/DWSLWS Presentation.bbl Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,42 @@ +\begin{thebibliography}{6} +\providecommand{\natexlab}[1]{#1} +\providecommand{\url}[1]{\texttt{#1}} +\expandafter\ifx\csname urlstyle\endcsname\relax + \providecommand{\doi}[1]{doi: #1}\else + \providecommand{\doi}{doi: \begingroup \urlstyle{rm}\Url}\fi + +\bibitem[De~Pijper(1983)]{Pijper} +Jan~Roelof De~Pijper. +\newblock \emph{Modelling British English Intonation}, volume~3. +\newblock Walter de Gruyter, 1983. + +\bibitem[Grabe et~al.(2005)Grabe, Kochanski, and Coleman]{grabe2005intonation} +Esther Grabe, Greg Kochanski, and John Coleman. +\newblock The intonation of native accent varieties in the {British Isles}: + potential for miscommunication. +\newblock \emph{English pronunciation models: a changing scene}, pages + 311--338, 2005. + +\bibitem[Hirst(1998)]{hirst1998intonation} +Daniel Hirst. +\newblock Intonation in {British English}. +\newblock \emph{Intonation Systems. A Survey of Twenty Languages}, 56:\penalty0 + 77, 1998. + +\bibitem[Huynh(2012)]{huynhquestion} +Linh~Thuy Huynh. +\newblock Question intonation patterns in a real-life conversation and in + textbook dialogs. +\newblock \emph{TESOL Working Paper Series}, 10:\penalty0 83--92., 2012. + +\bibitem[Tony(2014)]{TONY} +Tony. +\newblock \emph{a tool for melody annotation, version 0.4}. +\newblock Mauch, Matthias and Dixon, Simon, Queen Mary University London, 2014. + +\bibitem[Zatorre and Baum(2012)]{zatorre2012musical} +Robert~J Zatorre and Shari~R Baum. +\newblock Musical melody and speech intonation: singing a different tune. +\newblock \emph{PLoS biology}, 10\penalty0 (7):\penalty0 e1001372, 2012. + +\end{thebibliography}
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--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/Presentation/DWSLWS Presentation.tex Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,611 @@ +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Beamer Presentation +% LaTeX Template +% Version 1.0 (10/11/12) +% +% This template has been downloaded from: +% http://www.LaTeXTemplates.com +% +% License: +% CC BY-NC-SA 3.0 (http://creativecommons.org/licenses/by-nc-sa/3.0/) +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +%---------------------------------------------------------------------------------------- +% PACKAGES AND THEMES +%---------------------------------------------------------------------------------------- + +\documentclass[]{beamer} + +\mode<presentation> { + +% The Beamer class comes with a number of default slide themes +% which change the colors and layouts of slides. Below this is a list +% of all the themes, uncomment each in turn to see what they look like. + +%\usetheme{default} +%\usetheme{AnnArbor} +%\usetheme{Antibes} +%\usetheme{Bergen} +%\usetheme{Berkeley} +%\usetheme{Berlin} +%\usetheme{Boadilla} +%\usetheme{CambridgeUS} +%\usetheme{Copenhagen} +%\usetheme{Darmstadt} +%\usetheme{Dresden} +%\usetheme{Frankfurt} +%\usetheme{Goettingen} +%\usetheme{Hannover} +%\usetheme{Ilmenau} +%\usetheme{JuanLesPins} +%\usetheme{Luebeck} +\usetheme{Madrid} +%\usetheme{Malmoe} +%\usetheme{Marburg} +%\usetheme{Montpellier} +%\usetheme{PaloAlto} +%\usetheme{Pittsburgh} +%\usetheme{Rochester} +%\usetheme{Singapore} +%\usetheme{Szeged} +%\usetheme{Warsaw} + +% As well as themes, the Beamer class has a number of color themes +% for any slide theme. Uncomment each of these in turn to see how it +% changes the colors of your current slide theme. + +%\usecolortheme{albatross} +%\usecolortheme{beaver} +%\usecolortheme{beetle} +%\usecolortheme{crane} +%\usecolortheme{dolphin} +%\usecolortheme{dove} +%\usecolortheme{fly} +%\usecolortheme{lily} +%\usecolortheme{orchid} +%\usecolortheme{rose} +%\usecolortheme{seagull} +%\usecolortheme{seahorse} +%\usecolortheme{whale} +%\usecolortheme{wolverine} + +%\setbeamertemplate{footline} % To remove the footer line in all slides uncomment this line +%\setbeamertemplate{footline}[page number] % To replace the footer line in all slides with a simple slide count uncomment this line + +%\setbeamertemplate{navigation symbols}{} % To remove the navigation symbols from the bottom of all slides uncomment this line +} + +\usepackage{graphicx} % Allows including images +\usepackage{booktabs} % Allows the use of \toprule, \midrule and \bottomrule in tables +\usepackage{enumitem} +\usepackage{hyperref} +\usepackage[round]{natbib} + + +\setitemize{label=\usebeamerfont*{itemize item}% + \usebeamercolor[fg]{itemize item} + \usebeamertemplate{itemize item}} + +%---------------------------------------------------------------------------------------- +% TITLE PAGE +%---------------------------------------------------------------------------------------- + +\title[Do We Sing Like We Speak?] +{A Comparison of Question Intonation Patterns and Melodic Profile in Songs + } % The short title appears at the bottom of every slide, the full title is only on the title page + +\author{Dave Moffat} % Your name +%\logo{ +% \includegraphics[width=1cm,height=1cm,keepaspectratio]{logo}~% +%} +\institute[QMUL] % Your institution as it will appear on the bottom of every slide, may be shorthand to save space +{ +Center for Digital Music \\ + Queen Mary University \\ % Your institution for the title page +\medskip +\textit{\href{mailto:me@davemoffat.com}{me@davemoffat.com }} % Your email address +} +\date{\today} % Date, can be changed to a custom date + +\begin{document} + +\begin{frame} +\titlepage % Print the title page as the first slide +\end{frame} + +%---------------------------------------------------------------------------------------- +% PRESENTATION SLIDES +%---------------------------------------------------------------------------------------- + +\begin{frame} +\frametitle{Outline} + +\begin{itemize} +\item Overview +\item Motivation +\item Methodology +\item Results +\item Analysis +\item Conclusion +\item Further Work +\end{itemize} +\end{frame} + + +\begin{frame} +\frametitle{Introduction} + +\begin{itemize} +\item Several different question types in English language +\item Linguists model common intonation patterns +\item What about music? +\item Do these patterns correlate with musical melodies? +\item Do certain melodies make people write songs with question in them? +\item Or vice versa? +\end{itemize} +%There are many different types of question that are commonly found within English language, and there are standard models of the common intonation patterns within the British English speech. Do these intonation patterns map directly to questions as they appear as lyrics in a song? This comparative study maps the melodic f0 of questions within British pop music over the past 4 decades and compares these intonation patterns to common speech intonation models, and tests the following hypothesis: {\it The general intonation patterns of questions within speech and music are the same.} The results of this study show that musical melody and natural speech intonation pattern do correlate. +\end{frame} + +%\begin{frame} +%\frametitle{Inspiration} +%\begin{itemize} +%\item +%\end{itemize} +%\end{frame} + + +\begin{frame} +\frametitle{Motivation} +\begin{itemize} +\item MIR (Automated Transcription) +\item Psychoacoustics (Psychology of Melody) +\item Linguistics (Language Comparison) +\item Musical Psychology (Perceptual Evaluations of Lyrics and Music) +\item Cognitive Psychology (Learning Based Models) +\end{itemize} +\end{frame} + + + +\begin{frame} +\frametitle{Hypothesis} +\begin{block}{Hypothesis} +{\it The general intonation patterns of questions within speech and music are the same.} +\end{block} +\end{frame} + +\begin{frame} +\frametitle{Method} +%\begin{block}{Hypothesis} +%{\it The general intonation patterns of questions within speech and music are the same.} +%\end{block} +\begin{itemize} +\item Produce data set of popular British English music with questions occurring in them. +\item Extract just the question from songs. +\item Capture the f0 of the question. +\item Graph all intonation patterns within the data set. +\item Compare these intonation patterns to generalised linguistic speech intonation patterns for similarly matched question structures. +\end{itemize} +\end{frame} + +\begin{frame} +\frametitle{Intonation Patterns} +%Feeder, Silent Cry, 2008, ``What have I done?'', ``Wh'' Question + \begin{figure} +\includegraphics[height=0.7\textheight]{../dia/intonationModel} +\end{figure} +\end{frame} + +\begin{frame} +\frametitle{Dataset Production} + +\begin{itemize} +\item Focus on `Wh' and Polar questions. +\item Select from British English performing bands over past 50 years. +\item Finding songs with Questions. +\begin{itemize} +\item Obtain Audio Tracks +\item Manually Cut Song Line +\item Identify $f_0$ of Lyric Melody +\item TONY \citep{TONY} +\item Plot Intonation Patterns in MATLAB +\item Categorise based on intonation type +\end{itemize} +\end{itemize} +\end{frame} + +\begin{frame} +\frametitle{Tony \citep{TONY}} +The Who, Who Are You?, ``Who Are You?'', ``Wh'' Question + \begin{figure} +\includegraphics[height=0.7\textheight]{../dia/TonyScreen} +\end{figure} +\end{frame} + + +\begin{frame} +\frametitle{MATLAB Plot \citep{TONY}} +The Who, Who Are You?, ``Who Are You?'', ``Wh'' Question + \begin{figure} +\includegraphics[height=0.7\textheight]{../dia/T38Plot} +\end{figure} +\end{frame} + + + + +\begin{frame} +\frametitle{Linguistics: Question Intonation Patterns} + +\begin{block}{\citet{grabe2005intonation}} + +``In wh-questions, the fall was more frequent and produced in 61\% of the data. In polar questions, the fall was more frequent but produced in only 44\% of the data.''' +\end{block} +\end{frame} + +\begin{frame} +\frametitle{Original Project Data Set} +%Feeder, Silent Cry, 2008, ``What have I done?'', ``Wh'' Question + \begin{figure} + \caption{Initial data set of songs produced as part of this project} +\includegraphics[width=\textwidth, clip, trim = 25 50 20 50]{../dia/OriginalDataset} +\end{figure} +\begin{itemize} +\item Ended up with a dataset of 50 songs +\end{itemize} + +\end{frame} + + + +\begin{frame} +\frametitle{Mean Pitch of Falling Intonation for `Wh' Questions} + \begin{figure} +\includegraphics[height=0.7\textheight, clip, trim = 58 200 60 195]{../dia/WhQ-F-IMean-ALL} +\end{figure} +\end{frame} +\begin{frame} +\frametitle{Mean Pitch of Falling Intonation for Echo Questions} + \begin{figure} +\includegraphics[height=0.7\textheight, clip, trim = 58 200 60 195]{../dia/YNQ-F-IMean-ALL} +\end{figure} +\end{frame} + +\begin{frame} +\frametitle{Mean Pitch of Rising Falling Intonation for `Wh' Questions} + \begin{figure} +\includegraphics[height=0.7\textheight, clip, trim = 58 200 60 195]{../dia/WhQ-RF-IMean-ALL} +\end{figure} +\end{frame} +\begin{frame} +\frametitle{Mean Pitch of Rising Falling Intonation for Echo Questions} + \begin{figure} +\includegraphics[height=0.7\textheight, clip, trim = 58 200 60 195]{../dia/YNQ-RF-IMean-ALL} +\end{figure} +\end{frame} + + +\begin{frame} +\frametitle{Results} +%\begin{table} +%\caption{Intonation Pattern of Song Lyric Intonation Classification} +%\label{songIntClass} +%\begin{center} +%\begin{tabular}{|c|c c c|c|} +%\hline +%Question Type & Rise-fall & Fall & Other & Total\\ +%\hline +%\hline +%Wh-question & 3 & 5 & 3 & 11 \\ +%Yes/ No questions & 2 & 5 & 1 & 8 \\ +%\hline +%All Questions & 5 &10 & 4 & 19 \\ +%%Statement as questions & Terminal rising pitch & Terminal rising pitch \\ +%\hline +%\end{tabular} +%\end{center} +%\end{table} + +\begin{table} +\caption{Classification of sung melodic profiles corresponding to questions in lyrics sorted by question types (absolute numbers)} +\label{songIntClass} +\centering +\begin{tabular}{|c|c c c c|c|} +\hline +Question Type & Rise-Fall & Fall-Rise & Fall & Other & Total\\ +\hline +\hline +Wh-question & 11 & 6 & 5 & 3 & 25 \\ +Yes/ No questions & 11 & 2 & 7 & 5 & 25 \\ +\hline +All Questions & 22 &8 & 12 & 8 & 50 \\ +\hline +\end{tabular} +\end{table} + + +%\begin{table} +%\caption{Intonation Pattern of Song Lyric Intonation Classification as Percentage} +%\label{songIntClassPer} +%\begin{center} +%\begin{tabular}{|c|c c c|} +%\hline +%Question Type & Rise-fall & Fall & Other \\ +%\hline +%\hline +%Wh-question & 27\% & 46\% & 27\% \\ +%Yes/ No questions & 25\% & 62.5\% & 12.5\% \\ +%\hline +%All Questions & 26\% & 53\% & 21\% \\ +%%Statement as questions & Terminal rising pitch & Terminal rising pitch \\ +%\hline +%\end{tabular} +%\end{center} +%\end{table} +\begin{table} +\caption{Classification of sung melodic profiles corresponding to questions in lyrics sorted by question types (percentages)} +\label{songIntClassPer} +\centering +\begin{tabular}{|c|c c c c|} +\hline +Question Type & Rise-Fall & Fall-Rise & Fall & Other \\ +\hline +\hline +Wh-question & 44\% & 24\% & 20\% & 12\% \\ +Yes/ No questions & 44\% & 8\% & 28\% & 20\% \\ +\hline +All Questions & 44\% & 16\% & 24\% & 16\% \\ +\hline +\end{tabular} +\end{table} + +\end{frame} + +\begin{frame} +\frametitle{Results - From the Literature} + +%\begin{block}{\citet{grabe2005intonation}} +% +%``In wh-questions, the fall was more frequent and produced in 61\% of the data. In polar questions, the fall was more frequent but produced in only 44\% of the data.''' +%\end{block} +% +%\begin{table} +%\caption{Intonation Pattern of Song Lyric Intonation Classification as Percentage} +%\label{songIntClassPer} +%\begin{center} +%\begin{tabular}{|c|c c c|} +%\hline +%Question Type & Rise-fall & {\bf Fall} & Other \\ +%\hline +%\hline +%Wh-question & 27\% & {\bf 46\%} & 27\% \\ +%Yes/ No questions & 25\% &{\bf 62.5\%} & 12.5\% \\ +%\hline +%All Questions & 26\% & {\bf 53\%} & 21\% \\ +%%Statement as questions & Terminal rising pitch & Terminal rising pitch \\ +%\hline +%\end{tabular} +%\end{center} +%\end{table} +\begin{table}[h!] +\caption{Speech intonation patterns for different questions (reproduced from \citep{grabe2005intonation})} +\label{Grabe} +\centering +\begin{tabular}{|c|ccccc|c|} +\hline + & Rise-Fall & Fall-Rise & Fall & Rise & Hold & Total \\ +\hline\hline +Wh-Question & 18 & 133 & 99 & 56 & 0 & 306 \\ +Yes/No Question & 0 & 86 & 61 & 84 & 0 & 231 \\ +\hline +\end{tabular} +\end{table} +\end{frame} + + +\begin{frame} +\frametitle{Evaluation} +\begin{itemize} +\item Performed Statistical Analysis on Results +\item Used $\chi^2$ to show correlations between melody and speech. +\item Produced p-values -probability of these results correlating by chance. +\item P-values for both question types less than $0.01\%$ +\end{itemize} +\end{frame} + +\begin{frame} +\frametitle{Conclusion} + +\begin{block}{Hypothesis} +{\it The general intonation patterns of questions within speech and music are the same.} +\end{block} + +\begin{center} +\begin{itemize} +\item Our hypothesis has been proved correct, with a probability of $99.99\%$ +\item The results are statistically significant +\item This is entirely new research, nobody has every show these correlations before. +\end{itemize} + +\end{center} +\end{frame} + +\begin{frame} +\frametitle{Further Work} + +\begin{itemize} +\item Study based on songwriters' dialect, to determine if composed melodies follow suit. +\item Review of Melody first or lyric first as results +\item Comparison between different musical genres. +\item Comparison between different languages. +\item Other speech intonation patterns. +\end{itemize} +\end{frame} + + +\begin{frame}[allowframebreaks] + \frametitle{References} + \bibliographystyle{plainnat} + \bibliography{bibl.bib} + \nocite{*} +\end{frame} + + +\begin{frame} +\Huge{\centerline{Questions?}} +\end{frame} + + +\end{document} + +%\begin{frame} +%\frametitle{References} +%\footnotesize{ +%\begin{thebibliography}{99} % Beamer does not support BibTeX so references must be inserted manually as below +%\bibitem[Smith, 2012]{p1} John Smith (2012) +%\newblock Title of the publication +%\newblock \emph{Journal Name} 12(3), 45 -- 678. +%\end{thebibliography} +%} +%\end{frame} + +%%------------------------------------------------ +%\section{First Section} % Sections can be created in order to organize your presentation into discrete blocks, all sections and subsections are automatically printed in the table of contents as an overview of the talk +%%------------------------------------------------ +% +%\subsection{Subsection Example} % A subsection can be created just before a set of slides with a common theme to further break down your presentation into chunks +% +%\begin{frame} +%\frametitle{Paragraphs of Text} +%Sed iaculis dapibus gravida. 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Sed volutpat ante purus, quis accumsan dolor. +% +%\end{columns} +%\end{frame} +% +%%------------------------------------------------ +%\section{Second Section} +%%------------------------------------------------ +% +%\begin{frame} +%\frametitle{Table} +%\begin{table} +%\begin{tabular}{l l l} +%\toprule +%\textbf{Treatments} & \textbf{Response 1} & \textbf{Response 2}\\ +%\midrule +%Treatment 1 & 0.0003262 & 0.562 \\ +%Treatment 2 & 0.0015681 & 0.910 \\ +%Treatment 3 & 0.0009271 & 0.296 \\ +%\bottomrule +%\end{tabular} +%\caption{Table caption} +%\end{table} +%\end{frame} +% +%%------------------------------------------------ +% +%\begin{frame} +%\frametitle{Theorem} +%\begin{theorem}[Mass--energy equivalence] +%$E = mc^2$ +%\end{theorem} +%\end{frame} +% +%%------------------------------------------------ +% +%\begin{frame}[fragile] % Need to use the fragile option when verbatim is used in the slide +%\frametitle{Verbatim} +%\begin{example}[Theorem Slide Code] +%\begin{verbatim} +%\begin{frame} +%\frametitle{Theorem} +%\begin{theorem}[Mass--energy equivalence] +%$E = mc^2$ +%\end{theorem} +%\end{frame}\end{verbatim} +%\end{example} +%\end{frame} +% +%%------------------------------------------------ +% +%\begin{frame} +%\frametitle{Figure} +%Uncomment the code on this slide to include your own image from the same directory as the template .TeX file. +%\begin{figure} +%\includegraphics[width=0.8\linewidth]{ecs729-lecture7-ToBI} +%\end{figure} +%\end{frame} +% +%%------------------------------------------------ +% +%\begin{frame}[fragile] % Need to use the fragile option when verbatim is used in the slide +%\frametitle{Citation} +%An example of the \verb|\cite| command to cite within the presentation:\\~ +% +%This statement requires citation \cite{p1}. +%\end{frame} +% +%%------------------------------------------------ +% + +% +%%------------------------------------------------ +% +%\begin{frame} +%\Huge{\centerline{The End}} +%\end{frame} +% +%%---------------------------------------------------------------------------------------- +% +%\end{document} \ No newline at end of file
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/Presentation/DWSLWS Presentation.toc Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,1 @@ +\beamer@endinputifotherversion {3.33pt}
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/Presentation/bibl.bib Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,190 @@ +article{hermes1991frequency, + title={The frequency scale of speech intonation}, + author={Hermes, Dik J and Van Gestel, Joost C}, + journal={The Journal of the Acoustical Society of America}, + volume={90}, + number={1}, + pages={97--102}, + year={1991}, + publisher={Acoustical Society of America} +} + +article{marinesculearning, + title={Learning Singer-Specific Performance Rules}, + author={Marinescu, Maria Cristina and Ramirez, Rafael}, +journal = { International Journal of Modeling and Optimization}, +volume={2}, +year={2012}, +month={Apr}, +pages={97--102} +} + +inproceedings{nichols2009relationships, + title={Relationships Between Lyrics and Melody in Popular Music}, + author={Nichols, Eric and Morris, Dan and Basu, Sumit and Raphael, Christopher}, + booktitle={ISMIR}, + pages={471--476}, + year={2009} +} + +@article{zatorre2012musical, + title={Musical melody and speech intonation: singing a different tune}, + author={Zatorre, Robert J and Baum, Shari R}, + journal={PLoS biology}, + volume={10}, + number={7}, + pages={e1001372}, + year={2012}, + publisher={Public Library of Science} +} + +article{eady1982differences, + title={Differences in the F0 patterns of speech: Tone language versus stress language}, + author={Eady, Stephen J}, + journal={Language and Speech}, + volume={25}, + number={1}, + pages={29--42}, + year={1982}, + publisher={Sage Publications} +} +@article{grabe2005intonation, + title={The intonation of native accent varieties in the {British Isles}: potential for miscommunication}, + author={Grabe, Esther and Kochanski, Greg and Coleman, John}, + journal={English pronunciation models: a changing scene}, + pages={311--338}, + year={2005}, + publisher={Linguistic Insights Series: Peter Lang} +} + +inproceedings{grabe2002intonational, + title={Intonational variation in the {British Isles}}, + author={Grabe, Esther and Post, Brechtje}, + booktitle={Speech Prosody 2002, International Conference}, + year={2002} +} + +article{Patel2008, + title = {SPEECH INTONATION PERCEPTION DEFICITS IN MUSICAL TONE DEAFNESS (CONGENITAL AMUSIA)}, + author = {Patel, Aniruddh D. and Wong, Meredith and Foxton, Jessica and Lochy, Aliette and Peretz, Isabelle}, + journal = {Music Perception: An Interdisciplinary Journal}, + volume = {25}, + number = {4}, + pages = {pp. 357-368}, + ISSN = {07307829}, + year = {2008}, + publisher = {University of California Press}, + copyright = {Copyright © 2008 University of California Press}, + } + +@article{hirst1998intonation, + title={Intonation in {British English}}, + author={Hirst, Daniel}, + journal={Intonation Systems. A Survey of Twenty Languages}, + volume={56}, + pages={77}, + year={1998} +} + +@book{Pijper, + title={Modelling British English Intonation}, + author={De Pijper, Jan Roelof}, + volume={3}, + year={1983}, + publisher={Walter de Gruyter} +} + +misc{intonationEng1961, + title={{1973, Intonation of colloquial English}}, + author={O'Connor, Joseph D and Arnold, Gordon F}, + year={1961}, + publisher={London: Longman} +} + +article{cruttenden1970so, + title={On the so-called grammatical function of intonation}, + author={Cruttenden, Alan}, + journal={Phonetica}, + volume={21}, + number={3}, + pages={182--192}, + year={1970}, + publisher={Karger Publishers} +} + +inproceedings{matthias2014a, + author = {Matthias Mauch and Dixon, Simon}, + title = {{pYIN}: A Fundamental Frequency Estimator Using Probabilistic Threshold Distributions}, + booktitle = {Proceedings of the IEEE International Conference on Acoustics, Speech, and Signal Processing (ICASSP 2014)}, + note = {under review}, + year = {2014} +} + +book{Logic, +year = {2014}, +author = {Logic}, +title = {Logic Pro X, version 10.0.6}, +publisher = {Apple Inc.}, +address = {Cupertino, CA, United States of America} +} + + +@book{TONY, +year = {2014}, +author = {Tony}, +title = {a tool for melody annotation, version 0.4}, +publisher = {Mauch, Matthias and Dixon, Simon}, +address = {Queen Mary University London} +} + +book{MATLAB:2013, +year = {2013}, +author = {Matlab}, +title = {version 8.1.0 (R2013a)}, +publisher = {The MathWorks Inc.}, +address = {Natick, Massachusetts} +} + +@article{huynhquestion, + title={Question Intonation Patterns in A Real-life Conversation And in Textbook Dialogs}, + author={Huynh, Linh Thuy}, + year={2012}, + journal={TESOL Working Paper Series }, + volume={10}, + pages={83-92.}, + publisher={Hawaii Pacific University} +} + +incollection{wiering2007can, + title={Can humans benefit from music information retrieval?}, + author={Wiering, Frans}, + booktitle={Adaptive Multimedia Retrieval: User, Context, and Feedback}, + pages={82--94}, + year={2007}, + publisher={Springer} +} + +book{bech2007perceptual, + title={Perceptual audio evaluation-Theory, method and application}, + author={Bech, S{\o}ren and Zacharov, Nick}, + year={2007}, + publisher={John Wiley \& Sons} +} + +book{handbook, + title={Handbook for sound engineers}, + author={Ballou, Glen}, + year={2013}, + publisher={Focal Press} +} + +inproceedings{devaney2012study, + title={A Study of Intonation in Three-Part Singing using the Automatic Music Performance Analysis and Comparison Toolkit {(AMPACT)}.}, + author={Devaney, Johanna and Mandel, Michael I and Fujinaga, Ichiro}, + booktitle={ISMIR}, + pages={511--516}, + year={2012} +} + + +
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--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/Report.bbl Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,100 @@ +\begin{thebibliography}{20} +\providecommand{\natexlab}[1]{#1} +\providecommand{\url}[1]{\texttt{#1}} +\providecommand{\urlprefix}{} + +\bibitem[{Zatorre and Baum(2012)}]{zatorre2012musical} +Zatorre, R.J., Baum, S.R.: Musical melody and speech intonation: singing a + different tune. +\newblock PLoS biology 10(7), e1001372 (2012) + +\bibitem[{Ross et~al.(2007)Ross, Choi, and Purves}]{ross2007musical} +Ross, D., Choi, J., Purves, D.: Musical intervals in speech. +\newblock Proceedings of the National Academy of Sciences 104(23), 9852--9857 + (2007) + +\bibitem[{List(1963)}]{list1963boundaries} +List, G.: The boundaries of speech and song. +\newblock Ethnomusicology 7(1), 1--16 (1963) + +\bibitem[{Fonagy and Magdics(1963)}]{fonagy1963emotional} +Fonagy, I., Magdics, K.: Emotional patterns in intonation and music. +\newblock STUF-Language Typology and Universals 16(1-4), 293--326 (1963) + +\bibitem[{Patel et~al.(2006)Patel, Iversen, and Rosenberg}]{patel2006comparing} +Patel, A.D., Iversen, J.R., Rosenberg, J.C.: Comparing the rhythm and melody of + speech and music: The case of british english and french. +\newblock The Journal of the Acoustical Society of America 119(5), 3034--3047 + (2006) + +\bibitem[{Huron and Ollen(2003)}]{huron2003agogic} +Huron, D., Ollen, J.: Agogic contrast in french and english themes: Further + support for patel and daniele (2003) (2003) + +\bibitem[{De~Pijper(1983)}]{Pijper} +De~Pijper, J.R.: Modelling British English Intonation, vol.~3. +\newblock Walter de Gruyter (1983) + +\bibitem[{Eady(1982)}]{eady1982differences} +Eady, S.J.: Differences in the f0 patterns of speech: Tone language versus + stress language. +\newblock Language and Speech 25(1), 29--42 (1982) + +\bibitem[{Grabe et~al.(2005)Grabe, Kochanski, and + Coleman}]{grabe2005intonation} +Grabe, E., Kochanski, G., Coleman, J.: The intonation of native accent + varieties in the {British Isles}: potential for miscommunication. +\newblock English pronunciation models: a changing scene pp. 311--338 (2005) + +\bibitem[{Hirst(1998)}]{hirst1998intonation} +Hirst, D.: Intonation in {British English}. +\newblock Intonation Systems. A Survey of Twenty Languages 56, 77 (1998) + +\bibitem[{Nichols et~al.(2009)Nichols, Morris, Basu, and + Raphael}]{nichols2009relationships} +Nichols, E., Morris, D., Basu, S., Raphael, C.: Relationships between lyrics + and melody in popular music. +\newblock In: ISMIR. pp. 471--476 (2009) + +\bibitem[{Wiering(2007)}]{wiering2007can} +Wiering, F.: Can humans benefit from music information retrieval? +\newblock In: Adaptive Multimedia Retrieval: User, Context, and Feedback, pp. + 82--94. Springer (2007) + +\bibitem[{O'Connor and Arnold(1961)}]{intonationEng1961} +O'Connor, J.D., Arnold, G.F.: {1973, Intonation of colloquial English} (1961) + +\bibitem[{Cruttenden(1970)}]{cruttenden1970so} +Cruttenden, A.: On the so-called grammatical function of intonation. +\newblock Phonetica 21(3), 182--192 (1970) + +\bibitem[{Huynh(2012)}]{huynhquestion} +Huynh, L.T.: Question intonation patterns in a real-life conversation and in + textbook dialogs. +\newblock TESOL Working Paper Series 10, 83--92. (2012) + +\bibitem[{Logic(2014)}]{Logic} +Logic: Logic Pro X, version 10.0.6. +\newblock Apple Inc., Cupertino, CA, United States of America (2014) + +\bibitem[{Mauch and Dixon(2014{\natexlab{a}})}]{TONY} +Mauch, M., Dixon, S.: Tony, a tool for melody annotation, version 0.4. +\newblock Queen Mary University London (2014{\natexlab{a}}) + +\bibitem[{Mauch and Dixon(2014{\natexlab{b}})}]{matthias2014a} +Mauch, M., Dixon, S.: {pYIN}: A fundamental frequency estimator using + probabilistic threshold distributions. +\newblock In: Proceedings of the IEEE International Conference on Acoustics, + Speech, and Signal Processing (ICASSP 2014) (2014{\natexlab{b}}), under + review + +\bibitem[{Hermes and Van~Gestel(1991)}]{hermes1991frequency} +Hermes, D.J., Van~Gestel, J.C.: The frequency scale of speech intonation. +\newblock The Journal of the Acoustical Society of America 90(1), 97--102 + (1991) + +\bibitem[{Grabe and Post(2002)}]{grabe2002intonational} +Grabe, E., Post, B.: Intonational variation in the {British Isles}. +\newblock In: Speech Prosody 2002, International Conference (2002) + +\end{thebibliography}
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--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/Report.out Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,1 @@ +\BOOKMARK [0][-]{chapter.1}{Do We Sing Like We Speak? \040A Comparison of Question Intonation Patterns and Melodic Profile in Songs}{}% 1
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/Report.tex Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,388 @@ + +\documentclass[runningheads,a4paper]{llncs} + +%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%% +%Comment this package before submission +%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%% +%\usepackage{refcheck} +%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%% + + + + + +%\usepackage{amsmath} % just math +%\usepackage{amssymb} % allow blackboard bold (aka N,R,Q sets) +%\usepackage{amsthm} % allow blackboard bold (aka N,R,Q sets) +\usepackage{graphicx} +\usepackage[numbers]{natbib} +%\usepackage{a4wide} +%\usepackage{subfigure} +\usepackage{caption} +\usepackage{subcaption} +%\usepackage{listings} +%\usepackage{caption} +%\usepackage{enumitem} +%\usepackage{multicol} +\usepackage{hyperref} +\usepackage{csvsimple} +\usepackage{textcomp} +\usepackage{rotating} + +\usepackage{geometry} +%\usepackage{pdflscape} +%\usepackage[nottoc]{tocbibind} + + +%\usepackage{biblatex} +%\usepackage{cite} +%\usepackage{natbib} +\usepackage{url} +%\newcommand*{\fpair}{\ensuremath{\rightleftharpoons}} +%\DeclareMathOperator{\sinc}{sinc} +%\newtheorem{guess}{Hypothesis} +%\newtheorem{hypolist}{Hypothesis}[chapter] + +%\bibliography{test.bib} + + +%\linespread{1.2} % double spaces lines + +%\textwidth 7truein%6.5truein % These 4 commands define more efficient margins +%\textheight 9.5truein +%\oddsidemargin 0.0in +%\topmargin -1.3in%-0.6in + +%\parindent 0pt % let's not indent paragraphs +%\parskip 0pt % Also, a bit of space between paragraphs + +%\addbibresource{Proj} + +\urldef{\mails}\path|{d.j.moffat, elaine.chew}@qmul.ac.uk| +%\newcommand{\keywords}[1]{\par\addvspace\baselineskip + + + +\begin{document} + +\mainmatter + +\title{Do We Sing Like We Speak? \\ A Comparison of Question Intonation Patterns and Melodic Profile in Songs} +\titlerunning{Do We Sing Like We Speak?} + +%\author{Dave Moffat and Elaine Chew} +%\institute{Center For Digital Music \\ Queen Mary University London \\ Mile End Road, London, E1 4NS \\ \mails} + +\maketitle + +\begin{abstract} +This paper investigates whether intonation patterns in spoken language map to melodic profile patterns in music. The study focuses on polar (yes/no) and interrogative (wh) questions, and commonly found terminal intonation patterns for these kinds of questions in British English. We analyse the f0 of the main melody of 50 audio excerpts, from 49 different British pop songs by 47 distinct artists, for which the lyrics correspond to the desired questions types. Comparing the f0 of the main melody to the intonation patterns observed in authentic conversation, we test the null hypothesis that there is no correlation between question intonation patterns in speech and melodic profiles in songs with question lyrics. The data rejects the hypothesis, and we conclude that intonation patterns of questions in speech and in song melodies are correlated. +\keywords{music and speech, prosody, intonation, melodic profile, song lyrics, questions} +\end{abstract} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Introduction} +There exist many different types of questions that are commonly found within the English language, and there exist standard models of the common intonation patterns for these questions types within British English speech. We are interested in investigating whether these intonation patterns translate to melodic patterns when the words are put to song. The remit of this paper is to compare the intonation pattern of questions within music and natural speech in British English. In particular, this paper aims to compare the intonation patterns applied when someone utters a question to the melody of the same types of questions when they appear in popular music. More specifically, this paper compares the fundamental frequency (f0) pattern of the song melody and the natural English speech intonation of the same statement. + +Phonetics is the branch of linguistics that studies the sounds made as part of normal speech, including intonation patterns. Intonation, the variation of pitch, in spoken language is frequently used to signal the ends of questions. Within the field of phonetics, many studies exist pertaining to intonation of questions or of different languages, but there is only limited work comparing intonation patterns to music. We describe the most relevant research here. + +\citet{zatorre2012musical} evaluates the differences between human perception of music and speech, focusing on interval and frequency patterns. \citet{ross2007musical} explores musical intervals and standard western music chord structure, and correlates this with speech intervals. \citet{list1963boundaries} identifies the fundamental differences between music and speech, discussing classification differences between the two sets of sound. \citet{fonagy1963emotional} attempts to classify both music and speech data sets into emotional categories based on melodic patterns. Similarities, in duration and pitch contrast, between melodies composed by English and French composers to that of their native tongues have been noted in \cite{patel2006comparing,huron2003agogic}. + +We take existing efforts a step further to focus specifically on spoken and sung questions. There are several different types of questions, with varying intonation patterns in British English. For the purpose of this paper we will be focusing on polar questions, which are questions with a yes or no response, and `wh' questions, which are questions with an interrogative word, such as who or how \citep{Pijper}. For this study, we will focus on the terminal intonation, the pattern of the end of the sentence, where question intonation patterns are most regular \citep{eady1982differences, grabe2005intonation, hirst1998intonation}. Comparing these terminal intonation patterns to that found in song melodies corresponding to the question types of interest, we ascertain whether speech intonation and song melody patterns correlate directly. + +In order to conduct the study, we created a dataset consisting of excerpts from British English popular music corresponding to lyrics determined as either polar questions or `wh' questions. Prior work on speech intonation of questions provides a phonetic model for comparison to our sung melody data set, and we test the hypothesis that intonation patterns of spoken questions and sung melodic profiles corresponding to questions are correlated. + +The study of how speech intonation and song melodies inter-relate benefits the understanding of the art of composing melodies for songs. It provides useful insight into the psychology of music writing and the design of melodic structures. Applications include the generating of natural sounding melodies (any written text could be turned into a musical utterance using the rules learned), language acquisition (intonation pattern learning using music and songs) \citep{zatorre2012musical,nichols2009relationships}, and culturally-sensitive lyric translations. The knowledge gained could also benefit music retrieval, for example, allowing earworms without words to be more readily associated with their lyrics \citep{wiering2007can}. + +% Further studies into the musical call and response patterns and their correlation with natural language speech patterns could provide some valuable insight into the evolution of spoken language and social interactions. + +The remainder of this paper is organised as follows: Section~\ref{sec:Method} presents the work undertaken and explains how the data set was created and the analysis performed; the results of the analyses and discussions of the results are presented in Section~\ref{sec:Results}; conclusions are drawn and further work presented in Section~\ref{sec:Conc}. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Method} +\label{sec:Method} + +This section presents the method implemented for this paper, in relation to the dataset collected as discussed in Section \ref{sec:dataSet}. +% followed by a brief explanation of the data set to be collected. Then, we shall present the analysis method used in this paper. + +\subsection{Basis for Comparison: Speech Intonation} +Terminal phonetic patterns of questions can be represented in various ways; here, we focus on pitch change. The commonly used ``tadpole diagram'' representation is shown in Figure~\ref{intonationPatterns}. The line drawings indicating the shape of the fundamental frequency of the intonation pattern; the head indicates the point of stress. These models of terminal phonetic patterns will be the ones referenced throughout the paper. +\begin{figure} +\centering +\includegraphics[height=0.244\textheight, clip, trim = 10 8 10 10]{dia/intonationModel} +\caption{Intonation pattern models} +\label{intonationPatterns} +\end{figure} + +Next, we discuss some intonation patterns that have been theorised about and observed in authentic speech. \citet{grabe2005intonation} present the argument that both `wh' and polar questions most commonly have a falling intonation pattern, and found that only 44\% of questions matched this pattern in spoken polar questions. \citet{intonationEng1961} present the argument for a low rise effect in polar questions, and \citet{cruttenden1970so} suggest that a low rise or a fall are both suitable models for `wh' questions. \citet{huynhquestion} compared intonation patterns in authentic conversation and textbook intonation patterns; a part of their results is reproduced in Table~\ref{intPattHuynh}. + +\begin{table*} +\caption{Speech intonation patterns (reproduced from \citep{huynhquestion})} +\label{intPattHuynh} +\centering +\begin{tabular}{|c|c c|} +\hline +Intonation Pattern & Authentic conversation &Textbook \\ +\hline +\hline +Wh-question & Rising-falling &Rising-Falling \\ +& Falling-rising &\\ +Yes/ No questions & Falling-Rising & Falling-Rising \\ +& Terminal falling pitch & \\ +\hline +\end{tabular} +\end{table*} + +For the purposes of this paper, songs will grouped into the terminal intonation pattern groups: rise-fall, rise, fall, fall-rise, or hold. These groups will be compared against intonation patterns found by researchers in authentic conversation \citep{grabe2005intonation}. + +\subsection{Data Set} +\label{sec:dataSet} +For this study, a dataset was produced, including collection, editing and analysis of the data to produce a map of the fundamental frequency of the lyrics of each song. This section will discuss the collection and production of this data set. + +A selection of fifty audio clips from forty-nine different songs and forty-seven different performers was selected. A defining characteristic of this data set was that the performer had to be British English. The songs were selected from a range of British Pop music published over the past 60 years, and are listed in Table~\ref{tab:dataSet}. For reproducibility, the full dataset, annotations, software implementation and appendix are available online \footnote{URL FOR DATASET}. + +% A listing of the full data set is made available in the public Soundsoftware repository~\citep{app}\textbf{[EC: NEED TO ANONYMISE THIS FOR BLIND REVIEW]} \textbf{and reproduced in Appendix Y in this paper [EC: PUT THE LIST OF SONGS AT THE END OF THIS PAPER IN AN APPENDIX]}. + +The songs were selected for the different question types in them$-$polar questions and `wh' questions. The data set was edited from audio tracks; the appropriate section of audio was cut out using the Logic~\cite{Logic} software on an Apple Macbook Pro. The fundamental frequency (f0) of the melody of each question was then obtained from the recording excerpt using the Tony~\citep{TONY} software (which uses the pYIN algorithm from\cite{matthias2014a}). A range of proposed f0 tracks are proposed by the TONY software, and the correct f0 representing the sung melody is selected manually. Figure~\ref{TonyScreen} shows a selected track in the TONY annotation environment. The output is a series of non-linearly spaced data points. The data is then smoothed with a moving average window of 50 TONY output samples, and plotted in MATLAB; an example can be seen in Figure~\ref{MatlabT38}. + +% The aim was to compare the melodic profile of these questions to a standard linguistic intonation model. + +%The f0 data was analysed within each question type and compared to the speech intonation patterns typical of the question type. + +\begin{figure} +\centering +\includegraphics[width=0.8\textwidth]{dia/TonyScreen} +\caption{A Screenshot of the TONY Annotation Environment corresponding to the words, ``Who are you?'' from the song, ``Who are you?'' by The Who } +\label{TonyScreen} +\end{figure} + +\begin{figure} +\centering +\includegraphics[width=0.7\textwidth, clip, trim = 90 40 60 30]{dia/T38Plot} +\caption{A MATLAB plot of the TONY annotation data, smoothed and normalised by both time and frequency, corresponding to the data shown in Figure~\ref{TonyScreen}} +\label{MatlabT38} +\end{figure} + +\subsection{Analysis} +%To analyse the results and compare the speech intonation to song lyric f0 track, a hypothesis is first produced: +%\begin{description} +%\item[Hypothesis] {\it The intonation patterns of questions within speech and music are correlated.} +%\end{description} + +The sung melodic profile patterns abstracted from the audio data are classified into one of four terminal intonation patterns: Rise-Fall, Fall-Rise, Fall, Others. +%The results will be modelled and the mean of each intonation model will be plotted. These results can then be compared to standard textbook speech intonation patterns for the given question types. +We test the hypothesis that the intonation patterns of questions within speech and music are correlated. The dataset is analysed by comparing the song lyric f0 tracks to a dataset of speech intonation patterns for questions. The speech dataset we use for the comparison consists of over 500 question intonation patterns for standard British English speech from a range of dialects, and is taken from \cite{grabe2005intonation}. From this, we determine whether the melodic profile patterns follow commonly observed speech patterns, and draw conclusions from the results. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Results and Discussion} +\label{sec:Results} + +In this section, we present the results of comparing the f0 of the sung melodies to the expected speech intonation patterns, as they occur in natural speech, for the question types represented by the song lyrics. The f0 track of every song has been made publicly available via the website~\footnote{Dataset url omitted for blind review}. The melody f0 patterns extracted are categorised as into Rise-Fall, Fall-Rise, Fall, and Other patterns by inspection. + +Figure~\ref{WHMean} shows the f0 frequencies of the sung melodies extracted in the manner described in Section~\ref{sec:dataSet} for the song excerpts corresponding to `wh' questions. Figure~\ref{WHFMean} and Figure~\ref{WHRFMean} show the melody profile patterns that were classified into Falling and Rise-Fall types, respectively. All `wh' question sung melody profile patterns classified as Falling have been plotted in Figure~\ref{WHFMean-All}, with the mean f0 plotted in bold for comparison, to demonstrate the spread of the data, and likewise for the Rise-Fall melodic profiles in Figure~\ref{WHRFMean-All}. + +\begin{figure}[h!] + \centering + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-F-IMean} + \caption{Mean Falling sung melody profile} + \label{WHFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-RF-IMean} + \caption{Mean Rise-Fall sung melody profile} + \label{WHRFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-F-IMean-ALL} + \caption{All Falling profiles (mean in bold)} + \label{WHFMean-All} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/WhQ-RF-IMean-ALL} + \caption{All Rise-Fall profiles (mean in bold)} + \label{WHRFMean-All} + \end{subfigure} + \caption{Frequency (f0) plots for `wh' question sung melody profiles}\label{WHMean} +\end{figure} + +The f0 patterns of the sung melodies for polar question lyrics are plotted in Figure~\ref{WHMean}. As with the `wh' questions, the mean sung melody profile is shown in Figure~\ref{YNFMean} and Figure~\ref{YNRFMean} for Falling and Rise-Fall patterns, respectively, and all melody profiles are shown in Figure~\ref{YNFMean+All} and Figure~\ref{YNRFMean+All}, respectively. + +\begin{figure}[htbp] + \centering + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-F-IMean} + \caption{Mean Falling sung melody profile} + \label{YNFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-RF-IMean} + \caption{Mean Rise-Fall sung melody profile} + \label{YNRFMean} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-F-IMean-ALL} + \caption{All Falling profiles (mean in bold)} + \label{YNFMean+All} + \end{subfigure} + \begin{subfigure}[b]{0.495\textwidth} + \includegraphics[width=\textwidth, clip, trim = 56 200 60 195]{dia/YNQ-RF-IMean-ALL} + \caption{All Rise-Fall profiles (mean in bold)} + \label{YNRFMean+All} + \end{subfigure} + \caption{Frequency (f0) plots for polar question sung melody profiles} + \label{WHMean} +\end{figure} + +\begin{table*} +\caption{Classification of sung melodic profiles corresponding to questions in lyrics sorted by question types (absolute numbers)} +\label{songIntClass} +\centering +\begin{tabular}{|c|c c c c|c|} +\hline +Question Type & Rise-Fall & Fall-Rise & Fall & Other & Total\\ +\hline +\hline +Wh-question & 11 & 6 & 5 & 3 & 25 \\ +Yes/ No questions & 11 & 2 & 7 & 5 & 25 \\ +\hline +All Questions & 22 &8 & 12 & 8 & 50 \\ +\hline +\end{tabular} +\end{table*} + +\begin{table*} +\caption{Classification of sung melodic profiles corresponding to questions in lyrics sorted by question types (percentages)} +\label{songIntClassPer} +\centering +\begin{tabular}{|c|c c c c|} +\hline +Question Type & Rise-Fall & Fall-Rise & Fall & Other \\ +\hline +\hline +Wh-question & 44\% & 24\% & 20\% & 12\% \\ +Yes/ No questions & 44\% & 8\% & 28\% & 20\% \\ +\hline +All Questions & 44\% & 16\% & 24\% & 16\% \\ +\hline +\end{tabular} +\end{table*} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% \section{Discussion} +% \label{sec:Disc} + +The numeric results of the classification are shown in Table~\ref{songIntClass} and Table~\ref{songIntClassPer}. It can be seen that the majority of the terminal melodic profiles of questions follow the Falling intonation pattern. This correlates with the speech intonation patterns cited in \citet{grabe2005intonation}, in which it was suggested that questions should all have a terminal Falling intonation pattern. Both Rise-Fall and Falling melodic profiles exhibit a terminal falling pattern, and thus 64\% of interrogative questions and 72\% of polar questions had a terminal falling sung melody pattern. + +These results also concur with intonation patterns observed in authentic conversations as described in \citet{huynhquestion}, and with standard intonation patterns as proposed by \citet{cruttenden1970so} regarding the terminal falling intonation pattern. Thus, at first blush, our hypothesis that the intonation patterns of questions within speech and music are correlated appears to be supported by the data. + +We employ statistically analysis to verify the observed correlations. We use as the template speech patterns of `wh' and polar question a set of example data from \citet{grabe2005intonation}, reproduced in Table~\ref{Grabe}. This data provides us with a basis for comparison to test the null hypothesis that there is no correlation between speech intonation patterns and song lyric intonation patterns. + +\begin{table*}[h!] +\caption{Speech intonation patterns for different questions (reproduced from \citep{grabe2005intonation})} +\label{Grabe} +\centering +\begin{tabular}{|c|*7c|} +\hline +Intonation & \multicolumn{3}{c}{`Wh' Questions} & \multicolumn{3}{c}{Polar Questions} & Total \\ + & Cambridge& Newcastle& Belfast& Cambridge& Newcastle& Belfast& \\ +\hline\hline + RF & 0 &18 &0 &0 &0 &0 &18 \\ + FR & 19 &24 &90 &30 &32 &24 &219 \\ + F & 57 &42 &0 &36 &25 &0 &160 \\ + R & 32 &12 &12 &18 &0 &66 &140 \\ + H & 0 &0 &0 &0 &0 &0 &0 \\ + \hline +Total& 108 &96 &102 &84 &57 &90 &537 \\ +\hline +\end{tabular} +\end{table*} + +The $\chi^2$ value was calculated to test the independence between the observed patterns in the melodic profiles dataset and that of \citet{grabe2005intonation}, and the results are presented in Table~\ref{evalRes}. The null hypothesis is rejected with over 99\% confidence, and therefore we conclude that dependencies exist between song lyric melodic profile patterns corresponding to questions in British Popular music and terminal question intonation patterns in British English speech. + +\begin{table*}[h!] +\caption{$\chi^2$ values and p-values for different question types} +\label{evalRes} +\centering +\begin{tabular}{| p{8em} |c c c|} +%\rule{0pt}{4ex} +\hline +Question Type & $\chi^2$ &\quad\quad& p-value \\ +\hline\hline +`Wh' Questions & 55.17 && 0.00000 \\ +Polar Questions & 119.2 && 0.00000 \\ +\hline +\end{tabular} +\end{table*} + +% There are strong and statistically significant correlations between the song lyric dataset and the Grabe question dataset. It is the conclusion of this work that speech intonation patterns correlate strongly with the pitch of melodies within popular music containing questions, and these results have been justified as statistically significant. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\section{Conclusion} +\label{sec:Conc} + +We have presented the creation of a sung melody dataset consisting of 50 excerpts of British Popular music corresponding to questions in the lyrics. These song lyric melodic profiles were annotated and classified with regards to their terminal intonation patterns. These terminal patterns were then compared to textbook speech intonation patterns and to a summary table from \citet{grabe2005intonation} to test the null hypothesis that there is no correlation between speech intonation patterns and song lyric intonation patterns. The null hypothesis was rejected with high confidence and we conclude that correlations exist between the intonation patterns of questions in speech and the melodic profiles of sung melodies. + +Our study focused on sung melody extracted from audio recordings. Similar studies could be carried out using symbolic data. +%This may allow further work to be carried out with the use of symbolic data, rather than requiring manual annotation of songs, which could easily allow for a significant increase in dataset with access to the musical scores and song lyrics. +This work could be extended to a larger range of languages and dialects, or to genres other than British Pop music. As discussed in \citet{grabe2005intonation}, there exists a range of dialects even of British English alone, each with their own intonation patterns. A straightforward extension of this work could examine similar dependencies for data sorted by the songwriters' dialects to determine if composed melodies follow the specific dialect intonation patterns of the author. +% could also be extended to clarify if there are any differences in the linguistic patterns based if the melody is written and lyrics fitted to the melody, or if the song writing process attempts to fit a melody to the lyrics. + +% The results from this paper could progress research in a wide range of potential directions for music and speech intonation. The possibilities for further research, focusing on other areas of natural speech intonation and how speech intonation related to musical melodies could prove a very useful tool for research in the music information retrieval (MIR) field, along with musicologists, music psychologists and linguists \citep{wiering2007can}. + +% The potential for further research in comparison of intonation and music could also provide interesting exploration into international music, where the song is written in one country and language, but listened to in another, and its social impact on the language in the countries. Further studies into the musical call and response patterns and their correlation with natural language speech patterns could provide some valuable insight into the evolution of spoken language and social interactions. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\bibliographystyle{splncsnat} +\renewcommand\bibname{References} +\bibliography{bibl} +\nocite{*} + +%\end{multicols} + +\appendix + +\newgeometry{margin=1.49cm} % modify this if you need even more space +%\begin{landscape} + +\section{Appendix: Data Set} +\label{sec:app} + +%\begin{sidewaystable} +\begin{table} +\caption{Data Set} +\centering +%\scriptsize\csvautotabular{data/DataSet.csv} +\csvautotabular{data/DataSet.csv} +\label{tab:dataSet} +\end{table} +%\end{sidewaystable} + +%\begin{table}[htd] +%\caption{Data Set} +%\centering +%\scriptsize\csvautotabular{data/DataSet.csv} +%\label{tab:dataSet} +%\end{table} + +%% +% +%\end{landscape} +%\restoregeometry + +%\section{Graphs} +%\label{app:graphs} +% +% +%\input{app.tex} + + +\end{document} + + +
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/Report.toc Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,20 @@ +\contentsline {title}{Modelling of Intonation From Speech to Music; \unskip \ \ignorespaces A Comparative Study}{1}{chapter.1} +\authcount {1} +\contentsline {author}{David Moffat}{1}{chapter.1} +\contentsline {section}{\numberline {1}Introduction}{3}{section.1.1} +\contentsline {subsection}{\numberline {1.1}Motivation}{3}{subsection.1.1.1} +\contentsline {section}{\numberline {2}Method}{3}{section.1.2} +\contentsline {subsection}{\numberline {2.1}Speech Intonation for Comparison}{3}{subsection.1.2.1} +\contentsline {subsection}{\numberline {2.2}Data Set}{5}{subsection.1.2.2} +\contentsline {subsection}{\numberline {2.3}Analysis}{5}{subsection.1.2.3} +\contentsline {section}{\numberline {3}Data Set}{5}{section.1.3} +\contentsline {subsection}{\numberline {3.1}Data Set Selection}{5}{subsection.1.3.1} +\contentsline {subsection}{\numberline {3.2}Data Set Production}{5}{subsection.1.3.2} +\contentsline {section}{\numberline {4}Results}{6}{section.1.4} +\contentsline {subsection}{\numberline {4.1}Wh Questions}{6}{subsection.1.4.1} +\contentsline {subsection}{\numberline {4.2}Polar Questions}{6}{subsection.1.4.2} +\contentsline {section}{\numberline {5}Conclusion}{6}{section.1.5} +\contentsline {subsection}{\numberline {5.1}Further Work}{7}{subsection.1.5.1} +\contentsline {chapter}{Bibliography}{10}{chapter*.11} +\contentsline {section}{\numberline {A}Data Set}{11}{section.A.1} +\contentsline {section}{\numberline {B}Graphs}{12}{section.A.2}
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/app.tex Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,180 @@ + + + + +%Figure \ref{allPlots} + +\begin{figure*}[h] +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{plots/AllQuestionsPlot} +\caption{F0 Track From All Question Tracks} +\label{allPlots} +\end{center} +\end{figure*} + +%\subsection{Polar Questions} +%Figure \ref{ynPlots} + +\begin{figure*}[h] +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{plots/YNQuestionsPlot} +\caption{F0 Track From Polar Question Tracks} +\label{ynPlots} +\end{center} +\end{figure*} + +%\subsection{`Wh' Questions} +%Figure \ref{whPlots} + +\begin{figure*}[h] +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{plots/WhQuestionsPlot} +\caption{F0 Track From `Wh' Question Tracks} +\label{whPlots} +\end{center} +\end{figure*} + +%\subsection{Individual Question Plots} + + +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot1} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot1} +\end{center} +\end{figure*} + +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot2} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot2} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot4} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot4} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot5} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot5} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot6} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot6} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot7} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot7} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot8} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot8} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} + +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot9} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot9} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot10} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot10} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot11} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot11} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot12} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot12} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\i%%\labelncludegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot13} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%%\label{plot13} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot14} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot14} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot15} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot15} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot16} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot16} +\end{center} +\end{figure*} +\clearpage +\clearpage +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot17} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot17} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot20} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot20} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot21} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot21} +\end{center} +\end{figure*} +\begin{figure*} +\begin{center} +\includegraphics[height=0.4\textheight, clip, trim = 58 200 60 195]{dia/plot22} +%\caption{Polar Question with Rise-Fall Intonation Mean Frequency Plot} +%\label{plot22} +\end{center} +\end{figure*} + + +\clearpage +\clearpage
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--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/bibl.log Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,37 @@ +This is pdfTeX, Version 3.14159265-2.6-1.40.15 (TeX Live 2014) (preloaded format=pdflatex 2014.11.9) 15 JAN 2015 12:04 +entering extended mode + restricted \write18 enabled. + file:line:error style messages enabled. + %&-line parsing enabled. +**bibl.bib +(./bibl.bib +LaTeX2e <2014/05/01> +Babel <3.9k> and hyphenation patterns for 78 languages loaded. + +./bibl.bib:1: LaTeX Error: Missing \begin{document}. + +See the LaTeX manual or LaTeX Companion for explanation. +Type H <return> for immediate help. + ... + +l.1 @ + article{hermes1991frequency, +? +./bibl.bib:1: Emergency stop. + ... + +l.1 @ + article{hermes1991frequency, +You're in trouble here. Try typing <return> to proceed. +If that doesn't work, type X <return> to quit. + + +Here is how much of TeX's memory you used: + 7 strings out of 493117 + 252 string characters out of 6135433 + 52909 words of memory out of 5000000 + 3568 multiletter control sequences out of 15000+600000 + 3640 words of font info for 14 fonts, out of 8000000 for 9000 + 1141 hyphenation exceptions out of 8191 + 5i,0n,4p,40b,14s stack positions out of 5000i,500n,10000p,200000b,80000s +./bibl.bib:1: ==> Fatal error occurred, no output PDF file produced!
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/contributors.txt Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,2 @@ +Dave Moffat +Elaine Chew
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/data/DataSet.csv Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,51 @@ +Song,Act,Question +How Long,Ace,How long has this been going on? +But don\textquotesingle t you remember?,Adele,But don\textquotesingle t you remember? +24 Hour Party People,Happy Mondays,How old are you? +Wish you were here,Pink Floyd,Do you think you can tell? +Life on Mars,David Bowie,Is there life on Mars? +Where Do You Think You\textquotesingle re Going,Dire Straits,Where Do You Think You\textquotesingle re Going +Can you feel the love tonight?,Elton John,Can you feel the love tonight? +Silent Cry,Feeder,What have I done? +Wisemen,James Blunt,Where are you now? +Where are you now?,Mumford \& Son,Where are you now? +Another place to fall,KT Tunstall,Are you blind? +The Crunge,Led Zeppelin,\textquotesingle You want me to love you love some other man too? +Are you still into it?,Mogwai,Will you still kiss me? +How can anybody possibly know how I feel?,Morrissey,How can anybody possibly know how I feel? +D\textquotesingle you know what I mean?,Oasis,D\textquotesingle you know what I mean? +Do you feel like we do?,Peter Frampton,Do you feel like we do? +Do you remember?,Phil Collins,Do you remember? +Do you remember the first time?,Pulp,Do you remember the first time? +Who want to live forever?,Queen ,Who want to live forever? +Bohemian Rapsody,Queen ,Is this the real life +Bohemian Rapsody,Queen ,Is this just fantasy +You and who\textquotesingle s army?,Radiohead,You and who\textquotesingle s army? +Matty Groves,Fairport Convention,How do you like my lady who lies in your arms asleep? +Break the spell,Rolling Stones,Can you break the spell? +Where Ya Going?,Gomez,Now where you Going? +Who knows where the time goes?,Sandy Denny,Who knows where the time goes? +Chasing Cars,Snow Patrol,Would you lie with me me and just forget the world? +Who do you think you are?,Spice Girls,Who do you think you are? +Brand New Day,Sting \& The Police,And how many times do you swear you will never love again? +Itchycoo Park,Small Faces,What did you do there? +Why don\textquotesingle t we do it on the road?,The Beatles,Why don\textquotesingle t we do it on the road? +How deep is your love?,The Bee Gees,How deep is your love? +Why can\textquotesingle t I be you?,The Cure,Why can\textquotesingle t I be you? +How soon is now?,The Smiths,How can you say I go about things the wrong way. +What difference does it make?,The Smiths,So what difference does it make? +Who are you?,The Who,Who are you? +Why does it always rain on me?,Travis,Why does it always rain on me? +Ice Hockey Hair,Super Furry Animals,What did I do to you to make you feel so blue? +Where are you now when I need you,Waterboys,Do I really believe I need you? +Ever Fallen In Love With Someone,The Buzzcocks,Even Fallen in love with someone +You know I\textquotesingle m no good,Amy Winehouse,What did you do with him today? +The Reflex,Duran Duran,So Why don\textquotesingle t you use it? +Coffee and TV,Blur,Do you feel like a chain store? +Clint Eastwood,Gorillaz,You think its fictional? +Landslide,Fleetwood Mac,Can I handle the seasons of my life +Running Up That Hill,Kate Bush,Do you want to feel how it feels? +Do I wanna know?,Artic Monkeys,Have you got colour in your cheeks? +Breaking into Heaven,Stone Roses,Have I got news for you? +Don\textquotesingle t look back into the sun,The Libertines,huh did you say? +Love will tear us apart,Joy Divison,Is my timing that flawed?
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/data/DataSetSummary.csv Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,53 @@ +Index,Song,Act,Question,QType,Intonation +T1,How Long,Ace,How long has this been going on?,Wh,RF +T2,But don’t you remember?,Adele,But don’t you remember?,YN,F +T3,24 Hour Party People,Happy Mondays,How old are you?,Wh,RF +T4,Wish you were here,Pink Floyd,Do you think you can tell?,YN,FR +T5,Life on Mars,David Bowie,Is there life on Mars?,YN,RF +T6,Where Do You Think You're Going,Dire Straits,Where Do You Think You're Going,Wh,RF +T7,Can you feel the love tonight?,Elton John,Can you feel the love tonight?,YN,RF +T8,Silent Cry,Feeder,What have I done?,Wh,FR +T9,Wisemen,James Blunt,Where are you now?,Wh,FR +T10,Where are you now?,Mumford & Son,Where are you now?,Wh,H +T11,Human,Killers,Are we human or are we dancers?,Echo,F +T12,Another place to fall,KT Tunstall,Are you blind?,YN,R +T13,The Crunge,Led Zeppelin,You want me to love you love some other man too?,YN,F +T14,Are you still into it?,Mogwai,Will you still kiss me?,YN,RF +T15,How can anybody possibly know how I feel?,Morrissey,How can anybody possibly know how I feel?,Wh,FR +T16,D’you know what I mean?,Oasis,D’you know what I mean?,YN,F +T17,Do you feel like we do?,Peter Frampton,Do you feel like we do?,YN,RF +T18,Do you remember?,Phil Collins,Do you remember?,YN,RF +T19,Do you remember the first time?,Pulp,Do you remember the first time?,YN,R +T20,Who want to live forever?,Queen ,Who want to live forever?,Wh,F +T21,Bohemian Rapsody,Queen ,Is this the real life,YN,FR +T22,Bohemian Rapsody,Queen ,Is this just fantasy,YN,F +T23,You and who’s army?,Radiohead,You and who’s army?,Wh,F +T24,Matty Groves,Fairport Convention,How do you like my lady who lies in your arms asleep? ,Wh,RF +T25,Break the spell,Rolling Stones,Can you break the spell?,YN,F +T26,Where Ya Going?,Gomez,Now where you Going?,Wh,R +T27,Who knows where the time goes?,Sandy Denny,Who knows where the time goes?,Wh,FR +T28,Chasing Cars,Snow Patrol,Would you lie with me me and just forget the world?,YN,RF +T29,Who do you think you are?,Spice Girls,Who do you think you are?,Wh,FR +T30,Brand New Day,Sting & The Police,And how many times do you swear you will never love again?,Wh,F +T31,Itchycoo Park,Small Faces,What did you do there?,Wh,RF +T32,Why don’t we do it on the road?,The Beatles,Why don’t we do it on the road?,Wh,RF +T33,How deep is your love?,The Bee Gees,How deep is your love?,Wh,RF +T34,Should I stay or should I go?,The Clash,Should I stay or should I go?,Echo,RF +T35,Why can’t I be you?,The Cure,Why can’t I be you?,Wh,RF +T36,How soon is now?,The Smiths,How can you say I go about things the wrong way.,Wh,F +T37,What difference does it make?,The Smiths,So what difference does it make?,Wh,R +T38,Who are you?,The Who,Who are you?,Wh,RF +T39,Why does it always rain on me?,Travis,Why does it always rain on me?,Wh,RF +T40,Ice Hockey Hair,Super Furry Animals,What did I do to you to make you feel so blue?,Wh,FR +T41,Where are you now when I need you,Waterboys,Do I really believe I need you?,YN,RF +T42,Ever Fallen In Love With Someone,The Buzzcocks,Even Fallen in love with someone,YN,RF +T43,You know i’m no good,Amy Winehouse,What did you do with him today?,Wh,RF +T44,The Reflex,Duran Duran,So Why don’t you use it?,Wh,F +T45,Coffee and TV,Blur,Do you feel like a chain store?,YN,RF +T46,Clint Eastwood,Gorillaz,You think its fictional?,YN,R +T47,Landslide,Fleetwood Mac,Can I handle the seasons of my life,YN,F +T48,Running Up That Hill,Kate Bush,Do you want to feel how it feels?,YN,RF +T49,Do I wanna know?,Artic Monkeys,Have you got colour in your cheeks?,YN,F +T50,Breaking into Heaven,Stone Roses,Have I got news for you?,YN,RF +T51,Don’t look back into the sun,The Libertines,huh did you say?,YN,H +T52,Love will tear us apart,Joy Divison,Is my timing that flawed?,YN,R \ No newline at end of file
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/llncs.cls Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,1208 @@ +% LLNCS DOCUMENT CLASS -- version 2.18 (27-Sep-2013) +% Springer Verlag LaTeX2e support for Lecture Notes in Computer Science +% +%% +%% \CharacterTable +%% {Upper-case \A\B\C\D\E\F\G\H\I\J\K\L\M\N\O\P\Q\R\S\T\U\V\W\X\Y\Z +%% Lower-case \a\b\c\d\e\f\g\h\i\j\k\l\m\n\o\p\q\r\s\t\u\v\w\x\y\z +%% Digits \0\1\2\3\4\5\6\7\8\9 +%% Exclamation \! Double quote \" Hash (number) \# +%% Dollar \$ Percent \% Ampersand \& +%% Acute accent \' Left paren \( Right paren \) +%% Asterisk \* Plus \+ Comma \, +%% Minus \- Point \. Solidus \/ +%% Colon \: Semicolon \; Less than \< +%% Equals \= Greater than \> Question mark \? +%% Commercial at \@ Left bracket \[ Backslash \\ +%% Right bracket \] Circumflex \^ Underscore \_ +%% Grave accent \` Left brace \{ Vertical bar \| +%% Right brace \} Tilde \~} +%% +\NeedsTeXFormat{LaTeX2e}[1995/12/01] +\ProvidesClass{llncs}[2013/09/27 v2.18 +^^J LaTeX document class for Lecture Notes in Computer Science] +% Options +\let\if@envcntreset\iffalse +\DeclareOption{envcountreset}{\let\if@envcntreset\iftrue} +\DeclareOption{citeauthoryear}{\let\citeauthoryear=Y} +\DeclareOption{oribibl}{\let\oribibl=Y} +\let\if@custvec\iftrue +\DeclareOption{orivec}{\let\if@custvec\iffalse} +\let\if@envcntsame\iffalse +\DeclareOption{envcountsame}{\let\if@envcntsame\iftrue} +\let\if@envcntsect\iffalse +\DeclareOption{envcountsect}{\let\if@envcntsect\iftrue} +\let\if@runhead\iffalse +\DeclareOption{runningheads}{\let\if@runhead\iftrue} + +\let\if@openright\iftrue +\let\if@openbib\iffalse +\DeclareOption{openbib}{\let\if@openbib\iftrue} + +% languages +\let\switcht@@therlang\relax +\def\ds@deutsch{\def\switcht@@therlang{\switcht@deutsch}} +\def\ds@francais{\def\switcht@@therlang{\switcht@francais}} + +\DeclareOption*{\PassOptionsToClass{\CurrentOption}{article}} + +\ProcessOptions + +\LoadClass[twoside]{article} +\RequirePackage{multicol} % needed for the list of participants, index +\RequirePackage{aliascnt} + +\setlength{\textwidth}{12.2cm} +\setlength{\textheight}{19.3cm} +\renewcommand\@pnumwidth{2em} +\renewcommand\@tocrmarg{3.5em} +% +\def\@dottedtocline#1#2#3#4#5{% + \ifnum #1>\c@tocdepth \else + \vskip \z@ \@plus.2\p@ + {\leftskip #2\relax \rightskip \@tocrmarg \advance\rightskip by 0pt plus 2cm + \parfillskip -\rightskip \pretolerance=10000 + \parindent #2\relax\@afterindenttrue + \interlinepenalty\@M + \leavevmode + \@tempdima #3\relax + \advance\leftskip \@tempdima \null\nobreak\hskip -\leftskip + {#4}\nobreak + \leaders\hbox{$\m@th + \mkern \@dotsep mu\hbox{.}\mkern \@dotsep + mu$}\hfill + \nobreak + \hb@xt@\@pnumwidth{\hfil\normalfont \normalcolor #5}% + \par}% + \fi} +% +\def\switcht@albion{% +\def\abstractname{Abstract.} +\def\ackname{Acknowledgement.} +\def\andname{and} +\def\lastandname{\unskip, and} +\def\appendixname{Appendix} +\def\chaptername{Chapter} +\def\claimname{Claim} +\def\conjecturename{Conjecture} +\def\contentsname{Table of Contents} +\def\corollaryname{Corollary} +\def\definitionname{Definition} +\def\examplename{Example} +\def\exercisename{Exercise} +\def\figurename{Fig.} +\def\keywordname{{\bf Keywords:}} +\def\indexname{Index} +\def\lemmaname{Lemma} +\def\contriblistname{List of Contributors} +\def\listfigurename{List of Figures} +\def\listtablename{List of Tables} +\def\mailname{{\it Correspondence to\/}:} +\def\noteaddname{Note added in proof} +\def\notename{Note} +\def\partname{Part} +\def\problemname{Problem} +\def\proofname{Proof} +\def\propertyname{Property} +\def\propositionname{Proposition} +\def\questionname{Question} +\def\remarkname{Remark} +\def\seename{see} +\def\solutionname{Solution} +\def\subclassname{{\it Subject Classifications\/}:} +\def\tablename{Table} +\def\theoremname{Theorem}} +\switcht@albion +% Names of theorem like environments are already defined +% but must be translated if another language is chosen +% +% French section +\def\switcht@francais{%\typeout{On parle francais.}% + \def\abstractname{R\'esum\'e.}% + \def\ackname{Remerciements.}% + \def\andname{et}% + \def\lastandname{ et}% + \def\appendixname{Appendice} + \def\chaptername{Chapitre}% + \def\claimname{Pr\'etention}% + \def\conjecturename{Hypoth\`ese}% + \def\contentsname{Table des mati\`eres}% + \def\corollaryname{Corollaire}% + \def\definitionname{D\'efinition}% + \def\examplename{Exemple}% + \def\exercisename{Exercice}% + \def\figurename{Fig.}% + \def\keywordname{{\bf Mots-cl\'e:}} + \def\indexname{Index} + \def\lemmaname{Lemme}% + \def\contriblistname{Liste des contributeurs} + \def\listfigurename{Liste des figures}% + \def\listtablename{Liste des tables}% + \def\mailname{{\it Correspondence to\/}:} + \def\noteaddname{Note ajout\'ee \`a l'\'epreuve}% + \def\notename{Remarque}% + \def\partname{Partie}% + \def\problemname{Probl\`eme}% + \def\proofname{Preuve}% + \def\propertyname{Caract\'eristique}% +%\def\propositionname{Proposition}% + \def\questionname{Question}% + \def\remarkname{Remarque}% + \def\seename{voir} + \def\solutionname{Solution}% + \def\subclassname{{\it Subject Classifications\/}:} + \def\tablename{Tableau}% + \def\theoremname{Th\'eor\`eme}% +} +% +% German section +\def\switcht@deutsch{%\typeout{Man spricht deutsch.}% + \def\abstractname{Zusammenfassung.}% + \def\ackname{Danksagung.}% + \def\andname{und}% + \def\lastandname{ und}% + \def\appendixname{Anhang}% + \def\chaptername{Kapitel}% + \def\claimname{Behauptung}% + \def\conjecturename{Hypothese}% + \def\contentsname{Inhaltsverzeichnis}% + \def\corollaryname{Korollar}% +%\def\definitionname{Definition}% + \def\examplename{Beispiel}% + \def\exercisename{\"Ubung}% + \def\figurename{Abb.}% + \def\keywordname{{\bf Schl\"usselw\"orter:}} + \def\indexname{Index} +%\def\lemmaname{Lemma}% + \def\contriblistname{Mitarbeiter} + \def\listfigurename{Abbildungsverzeichnis}% + \def\listtablename{Tabellenverzeichnis}% + \def\mailname{{\it Correspondence to\/}:} + \def\noteaddname{Nachtrag}% + \def\notename{Anmerkung}% + \def\partname{Teil}% +%\def\problemname{Problem}% + \def\proofname{Beweis}% + \def\propertyname{Eigenschaft}% +%\def\propositionname{Proposition}% + \def\questionname{Frage}% + \def\remarkname{Anmerkung}% + \def\seename{siehe} + \def\solutionname{L\"osung}% + \def\subclassname{{\it Subject Classifications\/}:} + \def\tablename{Tabelle}% +%\def\theoremname{Theorem}% +} + +% Ragged bottom for the actual page +\def\thisbottomragged{\def\@textbottom{\vskip\z@ plus.0001fil +\global\let\@textbottom\relax}} + +\renewcommand\small{% + \@setfontsize\small\@ixpt{11}% + \abovedisplayskip 8.5\p@ \@plus3\p@ \@minus4\p@ + \abovedisplayshortskip \z@ \@plus2\p@ + \belowdisplayshortskip 4\p@ \@plus2\p@ \@minus2\p@ + \def\@listi{\leftmargin\leftmargini + \parsep 0\p@ \@plus1\p@ \@minus\p@ + \topsep 8\p@ \@plus2\p@ \@minus4\p@ + \itemsep0\p@}% + \belowdisplayskip \abovedisplayskip +} + +\frenchspacing +\widowpenalty=10000 +\clubpenalty=10000 + +\setlength\oddsidemargin {63\p@} +\setlength\evensidemargin {63\p@} +\setlength\marginparwidth {90\p@} + +\setlength\headsep {16\p@} + +\setlength\footnotesep{7.7\p@} +\setlength\textfloatsep{8mm\@plus 2\p@ \@minus 4\p@} +\setlength\intextsep {8mm\@plus 2\p@ \@minus 2\p@} + +\setcounter{secnumdepth}{2} + +\newcounter {chapter} +\renewcommand\thechapter {\@arabic\c@chapter} + +\newif\if@mainmatter \@mainmattertrue +\newcommand\frontmatter{\cleardoublepage + \@mainmatterfalse\pagenumbering{Roman}} +\newcommand\mainmatter{\cleardoublepage + \@mainmattertrue\pagenumbering{arabic}} +\newcommand\backmatter{\if@openright\cleardoublepage\else\clearpage\fi + \@mainmatterfalse} + +\renewcommand\part{\cleardoublepage + \thispagestyle{empty}% + \if@twocolumn + \onecolumn + \@tempswatrue + \else + \@tempswafalse + \fi + \null\vfil + \secdef\@part\@spart} + +\def\@part[#1]#2{% + \ifnum \c@secnumdepth >-2\relax + \refstepcounter{part}% + \addcontentsline{toc}{part}{\thepart\hspace{1em}#1}% + \else + \addcontentsline{toc}{part}{#1}% + \fi + \markboth{}{}% + {\centering + \interlinepenalty \@M + \normalfont + \ifnum \c@secnumdepth >-2\relax + \huge\bfseries \partname~\thepart + \par + \vskip 20\p@ + \fi + \Huge \bfseries #2\par}% + \@endpart} +\def\@spart#1{% + {\centering + \interlinepenalty \@M + \normalfont + \Huge \bfseries #1\par}% + \@endpart} +\def\@endpart{\vfil\newpage + \if@twoside + \null + \thispagestyle{empty}% + \newpage + \fi + \if@tempswa + \twocolumn + \fi} + +\newcommand\chapter{\clearpage + \thispagestyle{empty}% + \global\@topnum\z@ + \@afterindentfalse + \secdef\@chapter\@schapter} +\def\@chapter[#1]#2{\ifnum \c@secnumdepth >\m@ne + \if@mainmatter + \refstepcounter{chapter}% + \typeout{\@chapapp\space\thechapter.}% + \addcontentsline{toc}{chapter}% + {\protect\numberline{\thechapter}#1}% + \else + \addcontentsline{toc}{chapter}{#1}% + \fi + \else + \addcontentsline{toc}{chapter}{#1}% + \fi + \chaptermark{#1}% + \addtocontents{lof}{\protect\addvspace{10\p@}}% + \addtocontents{lot}{\protect\addvspace{10\p@}}% + \if@twocolumn + \@topnewpage[\@makechapterhead{#2}]% + \else + \@makechapterhead{#2}% + \@afterheading + \fi} +\def\@makechapterhead#1{% +% \vspace*{50\p@}% + {\centering + \ifnum \c@secnumdepth >\m@ne + \if@mainmatter + \large\bfseries \@chapapp{} \thechapter + \par\nobreak + \vskip 20\p@ + \fi + \fi + \interlinepenalty\@M + \Large \bfseries #1\par\nobreak + \vskip 40\p@ + }} +\def\@schapter#1{\if@twocolumn + \@topnewpage[\@makeschapterhead{#1}]% + \else + \@makeschapterhead{#1}% + \@afterheading + \fi} +\def\@makeschapterhead#1{% +% \vspace*{50\p@}% + {\centering + \normalfont + \interlinepenalty\@M + \Large \bfseries #1\par\nobreak + \vskip 40\p@ + }} + +\renewcommand\section{\@startsection{section}{1}{\z@}% + {-18\p@ \@plus -4\p@ \@minus -4\p@}% + {12\p@ \@plus 4\p@ \@minus 4\p@}% + {\normalfont\large\bfseries\boldmath + \rightskip=\z@ \@plus 8em\pretolerance=10000 }} +\renewcommand\subsection{\@startsection{subsection}{2}{\z@}% + {-18\p@ \@plus -4\p@ \@minus -4\p@}% + {8\p@ \@plus 4\p@ \@minus 4\p@}% + {\normalfont\normalsize\bfseries\boldmath + \rightskip=\z@ \@plus 8em\pretolerance=10000 }} +\renewcommand\subsubsection{\@startsection{subsubsection}{3}{\z@}% + {-18\p@ \@plus -4\p@ \@minus -4\p@}% + {-0.5em \@plus -0.22em \@minus -0.1em}% + {\normalfont\normalsize\bfseries\boldmath}} +\renewcommand\paragraph{\@startsection{paragraph}{4}{\z@}% + {-12\p@ \@plus -4\p@ \@minus -4\p@}% + {-0.5em \@plus -0.22em \@minus -0.1em}% + {\normalfont\normalsize\itshape}} +\renewcommand\subparagraph[1]{\typeout{LLNCS warning: You should not use + \string\subparagraph\space with this class}\vskip0.5cm +You should not use \verb|\subparagraph| with this class.\vskip0.5cm} + +\DeclareMathSymbol{\Gamma}{\mathalpha}{letters}{"00} +\DeclareMathSymbol{\Delta}{\mathalpha}{letters}{"01} +\DeclareMathSymbol{\Theta}{\mathalpha}{letters}{"02} +\DeclareMathSymbol{\Lambda}{\mathalpha}{letters}{"03} +\DeclareMathSymbol{\Xi}{\mathalpha}{letters}{"04} +\DeclareMathSymbol{\Pi}{\mathalpha}{letters}{"05} +\DeclareMathSymbol{\Sigma}{\mathalpha}{letters}{"06} +\DeclareMathSymbol{\Upsilon}{\mathalpha}{letters}{"07} +\DeclareMathSymbol{\Phi}{\mathalpha}{letters}{"08} +\DeclareMathSymbol{\Psi}{\mathalpha}{letters}{"09} +\DeclareMathSymbol{\Omega}{\mathalpha}{letters}{"0A} + +\let\footnotesize\small + +\if@custvec +\def\vec#1{\mathchoice{\mbox{\boldmath$\displaystyle#1$}} +{\mbox{\boldmath$\textstyle#1$}} +{\mbox{\boldmath$\scriptstyle#1$}} +{\mbox{\boldmath$\scriptscriptstyle#1$}}} +\fi + +\def\squareforqed{\hbox{\rlap{$\sqcap$}$\sqcup$}} +\def\qed{\ifmmode\squareforqed\else{\unskip\nobreak\hfil +\penalty50\hskip1em\null\nobreak\hfil\squareforqed +\parfillskip=0pt\finalhyphendemerits=0\endgraf}\fi} + +\def\getsto{\mathrel{\mathchoice {\vcenter{\offinterlineskip +\halign{\hfil +$\displaystyle##$\hfil\cr\gets\cr\to\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\textstyle##$\hfil\cr\gets +\cr\to\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\scriptstyle##$\hfil\cr\gets +\cr\to\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\scriptscriptstyle##$\hfil\cr +\gets\cr\to\cr}}}}} +\def\lid{\mathrel{\mathchoice {\vcenter{\offinterlineskip\halign{\hfil +$\displaystyle##$\hfil\cr<\cr\noalign{\vskip1.2pt}=\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\textstyle##$\hfil\cr<\cr +\noalign{\vskip1.2pt}=\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\scriptstyle##$\hfil\cr<\cr +\noalign{\vskip1pt}=\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\scriptscriptstyle##$\hfil\cr +<\cr +\noalign{\vskip0.9pt}=\cr}}}}} +\def\gid{\mathrel{\mathchoice {\vcenter{\offinterlineskip\halign{\hfil +$\displaystyle##$\hfil\cr>\cr\noalign{\vskip1.2pt}=\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\textstyle##$\hfil\cr>\cr +\noalign{\vskip1.2pt}=\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\scriptstyle##$\hfil\cr>\cr +\noalign{\vskip1pt}=\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\scriptscriptstyle##$\hfil\cr +>\cr +\noalign{\vskip0.9pt}=\cr}}}}} +\def\grole{\mathrel{\mathchoice {\vcenter{\offinterlineskip +\halign{\hfil +$\displaystyle##$\hfil\cr>\cr\noalign{\vskip-1pt}<\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\textstyle##$\hfil\cr +>\cr\noalign{\vskip-1pt}<\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\scriptstyle##$\hfil\cr +>\cr\noalign{\vskip-0.8pt}<\cr}}} +{\vcenter{\offinterlineskip\halign{\hfil$\scriptscriptstyle##$\hfil\cr +>\cr\noalign{\vskip-0.3pt}<\cr}}}}} +\def\bbbr{{\rm I\!R}} %reelle Zahlen +\def\bbbm{{\rm I\!M}} +\def\bbbn{{\rm I\!N}} %natuerliche Zahlen +\def\bbbf{{\rm I\!F}} +\def\bbbh{{\rm I\!H}} +\def\bbbk{{\rm I\!K}} +\def\bbbp{{\rm I\!P}} +\def\bbbone{{\mathchoice {\rm 1\mskip-4mu l} {\rm 1\mskip-4mu l} +{\rm 1\mskip-4.5mu l} {\rm 1\mskip-5mu l}}} +\def\bbbc{{\mathchoice {\setbox0=\hbox{$\displaystyle\rm C$}\hbox{\hbox +to0pt{\kern0.4\wd0\vrule height0.9\ht0\hss}\box0}} +{\setbox0=\hbox{$\textstyle\rm C$}\hbox{\hbox +to0pt{\kern0.4\wd0\vrule height0.9\ht0\hss}\box0}} +{\setbox0=\hbox{$\scriptstyle\rm C$}\hbox{\hbox +to0pt{\kern0.4\wd0\vrule height0.9\ht0\hss}\box0}} +{\setbox0=\hbox{$\scriptscriptstyle\rm C$}\hbox{\hbox +to0pt{\kern0.4\wd0\vrule height0.9\ht0\hss}\box0}}}} +\def\bbbq{{\mathchoice {\setbox0=\hbox{$\displaystyle\rm +Q$}\hbox{\raise +0.15\ht0\hbox to0pt{\kern0.4\wd0\vrule height0.8\ht0\hss}\box0}} +{\setbox0=\hbox{$\textstyle\rm Q$}\hbox{\raise +0.15\ht0\hbox to0pt{\kern0.4\wd0\vrule height0.8\ht0\hss}\box0}} +{\setbox0=\hbox{$\scriptstyle\rm Q$}\hbox{\raise +0.15\ht0\hbox to0pt{\kern0.4\wd0\vrule height0.7\ht0\hss}\box0}} +{\setbox0=\hbox{$\scriptscriptstyle\rm Q$}\hbox{\raise +0.15\ht0\hbox to0pt{\kern0.4\wd0\vrule height0.7\ht0\hss}\box0}}}} +\def\bbbt{{\mathchoice {\setbox0=\hbox{$\displaystyle\rm +T$}\hbox{\hbox to0pt{\kern0.3\wd0\vrule height0.9\ht0\hss}\box0}} +{\setbox0=\hbox{$\textstyle\rm T$}\hbox{\hbox +to0pt{\kern0.3\wd0\vrule height0.9\ht0\hss}\box0}} +{\setbox0=\hbox{$\scriptstyle\rm T$}\hbox{\hbox +to0pt{\kern0.3\wd0\vrule height0.9\ht0\hss}\box0}} +{\setbox0=\hbox{$\scriptscriptstyle\rm T$}\hbox{\hbox +to0pt{\kern0.3\wd0\vrule height0.9\ht0\hss}\box0}}}} +\def\bbbs{{\mathchoice +{\setbox0=\hbox{$\displaystyle \rm S$}\hbox{\raise0.5\ht0\hbox +to0pt{\kern0.35\wd0\vrule height0.45\ht0\hss}\hbox +to0pt{\kern0.55\wd0\vrule height0.5\ht0\hss}\box0}} +{\setbox0=\hbox{$\textstyle \rm S$}\hbox{\raise0.5\ht0\hbox +to0pt{\kern0.35\wd0\vrule height0.45\ht0\hss}\hbox +to0pt{\kern0.55\wd0\vrule height0.5\ht0\hss}\box0}} +{\setbox0=\hbox{$\scriptstyle \rm S$}\hbox{\raise0.5\ht0\hbox +to0pt{\kern0.35\wd0\vrule height0.45\ht0\hss}\raise0.05\ht0\hbox +to0pt{\kern0.5\wd0\vrule height0.45\ht0\hss}\box0}} +{\setbox0=\hbox{$\scriptscriptstyle\rm S$}\hbox{\raise0.5\ht0\hbox +to0pt{\kern0.4\wd0\vrule height0.45\ht0\hss}\raise0.05\ht0\hbox +to0pt{\kern0.55\wd0\vrule height0.45\ht0\hss}\box0}}}} +\def\bbbz{{\mathchoice {\hbox{$\mathsf\textstyle Z\kern-0.4em Z$}} +{\hbox{$\mathsf\textstyle Z\kern-0.4em Z$}} +{\hbox{$\mathsf\scriptstyle Z\kern-0.3em Z$}} +{\hbox{$\mathsf\scriptscriptstyle Z\kern-0.2em Z$}}}} + +\let\ts\, + +\setlength\leftmargini {17\p@} +\setlength\leftmargin {\leftmargini} +\setlength\leftmarginii {\leftmargini} +\setlength\leftmarginiii {\leftmargini} +\setlength\leftmarginiv {\leftmargini} +\setlength \labelsep {.5em} +\setlength \labelwidth{\leftmargini} +\addtolength\labelwidth{-\labelsep} + +\def\@listI{\leftmargin\leftmargini + \parsep 0\p@ \@plus1\p@ \@minus\p@ + \topsep 8\p@ \@plus2\p@ \@minus4\p@ + \itemsep0\p@} +\let\@listi\@listI +\@listi +\def\@listii {\leftmargin\leftmarginii + \labelwidth\leftmarginii + \advance\labelwidth-\labelsep + \topsep 0\p@ \@plus2\p@ \@minus\p@} +\def\@listiii{\leftmargin\leftmarginiii + \labelwidth\leftmarginiii + \advance\labelwidth-\labelsep + \topsep 0\p@ \@plus\p@\@minus\p@ + \parsep \z@ + \partopsep \p@ \@plus\z@ \@minus\p@} + +\renewcommand\labelitemi{\normalfont\bfseries --} +\renewcommand\labelitemii{$\m@th\bullet$} + +\setlength\arraycolsep{1.4\p@} +\setlength\tabcolsep{1.4\p@} + +\def\tableofcontents{\chapter*{\contentsname\@mkboth{{\contentsname}}% + {{\contentsname}}} + \def\authcount##1{\setcounter{auco}{##1}\setcounter{@auth}{1}} + \def\lastand{\ifnum\value{auco}=2\relax + \unskip{} \andname\ + \else + \unskip \lastandname\ + \fi}% + \def\and{\stepcounter{@auth}\relax + \ifnum\value{@auth}=\value{auco}% + \lastand + \else + \unskip, + \fi}% + \@starttoc{toc}\if@restonecol\twocolumn\fi} + +\def\l@part#1#2{\addpenalty{\@secpenalty}% + \addvspace{2em plus\p@}% % space above part line + \begingroup + \parindent \z@ + \rightskip \z@ plus 5em + \hrule\vskip5pt + \large % same size as for a contribution heading + \bfseries\boldmath % set line in boldface + \leavevmode % TeX command to enter horizontal mode. + #1\par + \vskip5pt + \hrule + \vskip1pt + \nobreak % Never break after part entry + \endgroup} + +\def\@dotsep{2} + +\let\phantomsection=\relax + +\def\hyperhrefextend{\ifx\hyper@anchor\@undefined\else +{}\fi} + +\def\addnumcontentsmark#1#2#3{% +\addtocontents{#1}{\protect\contentsline{#2}{\protect\numberline + {\thechapter}#3}{\thepage}\hyperhrefextend}}% +\def\addcontentsmark#1#2#3{% +\addtocontents{#1}{\protect\contentsline{#2}{#3}{\thepage}\hyperhrefextend}}% +\def\addcontentsmarkwop#1#2#3{% +\addtocontents{#1}{\protect\contentsline{#2}{#3}{0}\hyperhrefextend}}% + +\def\@adcmk[#1]{\ifcase #1 \or +\def\@gtempa{\addnumcontentsmark}% + \or \def\@gtempa{\addcontentsmark}% + \or \def\@gtempa{\addcontentsmarkwop}% + \fi\@gtempa{toc}{chapter}% +} +\def\addtocmark{% +\phantomsection +\@ifnextchar[{\@adcmk}{\@adcmk[3]}% +} + +\def\l@chapter#1#2{\addpenalty{-\@highpenalty} + \vskip 1.0em plus 1pt \@tempdima 1.5em \begingroup + \parindent \z@ \rightskip \@tocrmarg + \advance\rightskip by 0pt plus 2cm + \parfillskip -\rightskip \pretolerance=10000 + \leavevmode \advance\leftskip\@tempdima \hskip -\leftskip + {\large\bfseries\boldmath#1}\ifx0#2\hfil\null + \else + \nobreak + \leaders\hbox{$\m@th \mkern \@dotsep mu.\mkern + \@dotsep mu$}\hfill + \nobreak\hbox to\@pnumwidth{\hss #2}% + \fi\par + \penalty\@highpenalty \endgroup} + +\def\l@title#1#2{\addpenalty{-\@highpenalty} + \addvspace{8pt plus 1pt} + \@tempdima \z@ + \begingroup + \parindent \z@ \rightskip \@tocrmarg + \advance\rightskip by 0pt plus 2cm + \parfillskip -\rightskip \pretolerance=10000 + \leavevmode \advance\leftskip\@tempdima \hskip -\leftskip + #1\nobreak + \leaders\hbox{$\m@th \mkern \@dotsep mu.\mkern + \@dotsep mu$}\hfill + \nobreak\hbox to\@pnumwidth{\hss #2}\par + \penalty\@highpenalty \endgroup} + +\def\l@author#1#2{\addpenalty{\@highpenalty} + \@tempdima=15\p@ %\z@ + \begingroup + \parindent \z@ \rightskip \@tocrmarg + \advance\rightskip by 0pt plus 2cm + \pretolerance=10000 + \leavevmode \advance\leftskip\@tempdima %\hskip -\leftskip + \textit{#1}\par + \penalty\@highpenalty \endgroup} + +\setcounter{tocdepth}{0} +\newdimen\tocchpnum +\newdimen\tocsecnum +\newdimen\tocsectotal +\newdimen\tocsubsecnum +\newdimen\tocsubsectotal +\newdimen\tocsubsubsecnum +\newdimen\tocsubsubsectotal +\newdimen\tocparanum +\newdimen\tocparatotal +\newdimen\tocsubparanum +\tocchpnum=\z@ % no chapter numbers +\tocsecnum=15\p@ % section 88. plus 2.222pt +\tocsubsecnum=23\p@ % subsection 88.8 plus 2.222pt +\tocsubsubsecnum=27\p@ % subsubsection 88.8.8 plus 1.444pt +\tocparanum=35\p@ % paragraph 88.8.8.8 plus 1.666pt +\tocsubparanum=43\p@ % subparagraph 88.8.8.8.8 plus 1.888pt +\def\calctocindent{% +\tocsectotal=\tocchpnum +\advance\tocsectotal by\tocsecnum +\tocsubsectotal=\tocsectotal +\advance\tocsubsectotal by\tocsubsecnum +\tocsubsubsectotal=\tocsubsectotal +\advance\tocsubsubsectotal by\tocsubsubsecnum +\tocparatotal=\tocsubsubsectotal +\advance\tocparatotal by\tocparanum} +\calctocindent + +\def\l@section{\@dottedtocline{1}{\tocchpnum}{\tocsecnum}} +\def\l@subsection{\@dottedtocline{2}{\tocsectotal}{\tocsubsecnum}} +\def\l@subsubsection{\@dottedtocline{3}{\tocsubsectotal}{\tocsubsubsecnum}} +\def\l@paragraph{\@dottedtocline{4}{\tocsubsubsectotal}{\tocparanum}} +\def\l@subparagraph{\@dottedtocline{5}{\tocparatotal}{\tocsubparanum}} + +\def\listoffigures{\@restonecolfalse\if@twocolumn\@restonecoltrue\onecolumn + \fi\section*{\listfigurename\@mkboth{{\listfigurename}}{{\listfigurename}}} + \@starttoc{lof}\if@restonecol\twocolumn\fi} +\def\l@figure{\@dottedtocline{1}{0em}{1.5em}} + +\def\listoftables{\@restonecolfalse\if@twocolumn\@restonecoltrue\onecolumn + \fi\section*{\listtablename\@mkboth{{\listtablename}}{{\listtablename}}} + \@starttoc{lot}\if@restonecol\twocolumn\fi} +\let\l@table\l@figure + +\renewcommand\listoffigures{% + \section*{\listfigurename + \@mkboth{\listfigurename}{\listfigurename}}% + \@starttoc{lof}% + } + +\renewcommand\listoftables{% + \section*{\listtablename + \@mkboth{\listtablename}{\listtablename}}% + \@starttoc{lot}% + } + +\ifx\oribibl\undefined +\ifx\citeauthoryear\undefined +\renewenvironment{thebibliography}[1] + {\section*{\refname} + \def\@biblabel##1{##1.} + \small + \list{\@biblabel{\@arabic\c@enumiv}}% + {\settowidth\labelwidth{\@biblabel{#1}}% + \leftmargin\labelwidth + \advance\leftmargin\labelsep + \if@openbib + \advance\leftmargin\bibindent + \itemindent -\bibindent + \listparindent \itemindent + \parsep \z@ + \fi + \usecounter{enumiv}% + \let\p@enumiv\@empty + \renewcommand\theenumiv{\@arabic\c@enumiv}}% + \if@openbib + \renewcommand\newblock{\par}% + \else + \renewcommand\newblock{\hskip .11em \@plus.33em \@minus.07em}% + \fi + \sloppy\clubpenalty4000\widowpenalty4000% + \sfcode`\.=\@m} + {\def\@noitemerr + {\@latex@warning{Empty `thebibliography' environment}}% + \endlist} +\def\@lbibitem[#1]#2{\item[{[#1]}\hfill]\if@filesw + {\let\protect\noexpand\immediate + \write\@auxout{\string\bibcite{#2}{#1}}}\fi\ignorespaces} +\newcount\@tempcntc +\def\@citex[#1]#2{\if@filesw\immediate\write\@auxout{\string\citation{#2}}\fi + \@tempcnta\z@\@tempcntb\m@ne\def\@citea{}\@cite{\@for\@citeb:=#2\do + {\@ifundefined + {b@\@citeb}{\@citeo\@tempcntb\m@ne\@citea\def\@citea{,}{\bfseries + ?}\@warning + {Citation `\@citeb' on page \thepage \space undefined}}% + {\setbox\z@\hbox{\global\@tempcntc0\csname b@\@citeb\endcsname\relax}% + \ifnum\@tempcntc=\z@ \@citeo\@tempcntb\m@ne + \@citea\def\@citea{,}\hbox{\csname b@\@citeb\endcsname}% + \else + \advance\@tempcntb\@ne + \ifnum\@tempcntb=\@tempcntc + \else\advance\@tempcntb\m@ne\@citeo + \@tempcnta\@tempcntc\@tempcntb\@tempcntc\fi\fi}}\@citeo}{#1}} +\def\@citeo{\ifnum\@tempcnta>\@tempcntb\else + \@citea\def\@citea{,\,\hskip\z@skip}% + \ifnum\@tempcnta=\@tempcntb\the\@tempcnta\else + {\advance\@tempcnta\@ne\ifnum\@tempcnta=\@tempcntb \else + \def\@citea{--}\fi + \advance\@tempcnta\m@ne\the\@tempcnta\@citea\the\@tempcntb}\fi\fi} +\else +\renewenvironment{thebibliography}[1] + {\section*{\refname} + \small + \list{}% + {\settowidth\labelwidth{}% + \leftmargin\parindent + \itemindent=-\parindent + \labelsep=\z@ + \if@openbib + \advance\leftmargin\bibindent + \itemindent -\bibindent + \listparindent \itemindent + \parsep \z@ + \fi + \usecounter{enumiv}% + \let\p@enumiv\@empty + \renewcommand\theenumiv{}}% + \if@openbib + \renewcommand\newblock{\par}% + \else + \renewcommand\newblock{\hskip .11em \@plus.33em \@minus.07em}% + \fi + \sloppy\clubpenalty4000\widowpenalty4000% + \sfcode`\.=\@m} + {\def\@noitemerr + {\@latex@warning{Empty `thebibliography' environment}}% + \endlist} + \def\@cite#1{#1}% + \def\@lbibitem[#1]#2{\item[]\if@filesw + {\def\protect##1{\string ##1\space}\immediate + \write\@auxout{\string\bibcite{#2}{#1}}}\fi\ignorespaces} + \fi +\else +\@cons\@openbib@code{\noexpand\small} +\fi + +\def\idxquad{\hskip 10\p@}% space that divides entry from number + +\def\@idxitem{\par\hangindent 10\p@} + +\def\subitem{\par\setbox0=\hbox{--\enspace}% second order + \noindent\hangindent\wd0\box0}% index entry + +\def\subsubitem{\par\setbox0=\hbox{--\,--\enspace}% third + \noindent\hangindent\wd0\box0}% order index entry + +\def\indexspace{\par \vskip 10\p@ plus5\p@ minus3\p@\relax} + +\renewenvironment{theindex} + {\@mkboth{\indexname}{\indexname}% + \thispagestyle{empty}\parindent\z@ + \parskip\z@ \@plus .3\p@\relax + \let\item\par + \def\,{\relax\ifmmode\mskip\thinmuskip + \else\hskip0.2em\ignorespaces\fi}% + \normalfont\small + \begin{multicols}{2}[\@makeschapterhead{\indexname}]% + } + {\end{multicols}} + +\renewcommand\footnoterule{% + \kern-3\p@ + \hrule\@width 2truecm + \kern2.6\p@} + \newdimen\fnindent + \fnindent1em +\long\def\@makefntext#1{% + \parindent \fnindent% + \leftskip \fnindent% + \noindent + \llap{\hb@xt@1em{\hss\@makefnmark\ }}\ignorespaces#1} + +\long\def\@makecaption#1#2{% + \small + \vskip\abovecaptionskip + \sbox\@tempboxa{{\bfseries #1.} #2}% + \ifdim \wd\@tempboxa >\hsize + {\bfseries #1.} #2\par + \else + \global \@minipagefalse + \hb@xt@\hsize{\hfil\box\@tempboxa\hfil}% + \fi + \vskip\belowcaptionskip} + +\def\fps@figure{htbp} +\def\fnum@figure{\figurename\thinspace\thefigure} +\def \@floatboxreset {% + \reset@font + \small + \@setnobreak + \@setminipage +} +\def\fps@table{htbp} +\def\fnum@table{\tablename~\thetable} +\renewenvironment{table} + {\setlength\abovecaptionskip{0\p@}% + \setlength\belowcaptionskip{10\p@}% + \@float{table}} + {\end@float} +\renewenvironment{table*} + {\setlength\abovecaptionskip{0\p@}% + \setlength\belowcaptionskip{10\p@}% + \@dblfloat{table}} + {\end@dblfloat} + +\long\def\@caption#1[#2]#3{\par\addcontentsline{\csname + ext@#1\endcsname}{#1}{\protect\numberline{\csname + the#1\endcsname}{\ignorespaces #2}}\begingroup + \@parboxrestore + \@makecaption{\csname fnum@#1\endcsname}{\ignorespaces #3}\par + \endgroup} + +% LaTeX does not provide a command to enter the authors institute +% addresses. The \institute command is defined here. + +\newcounter{@inst} +\newcounter{@auth} +\newcounter{auco} +\newdimen\instindent +\newbox\authrun +\newtoks\authorrunning +\newtoks\tocauthor +\newbox\titrun +\newtoks\titlerunning +\newtoks\toctitle + +\def\clearheadinfo{\gdef\@author{No Author Given}% + \gdef\@title{No Title Given}% + \gdef\@subtitle{}% + \gdef\@institute{No Institute Given}% + \gdef\@thanks{}% + \global\titlerunning={}\global\authorrunning={}% + \global\toctitle={}\global\tocauthor={}} + +\def\institute#1{\gdef\@institute{#1}} + +\def\institutename{\par + \begingroup + \parskip=\z@ + \parindent=\z@ + \setcounter{@inst}{1}% + \def\and{\par\stepcounter{@inst}% + \noindent$^{\the@inst}$\enspace\ignorespaces}% + \setbox0=\vbox{\def\thanks##1{}\@institute}% + \ifnum\c@@inst=1\relax + \gdef\fnnstart{0}% + \else + \xdef\fnnstart{\c@@inst}% + \setcounter{@inst}{1}% + \noindent$^{\the@inst}$\enspace + \fi + \ignorespaces + \@institute\par + \endgroup} + +\def\@fnsymbol#1{\ensuremath{\ifcase#1\or\star\or{\star\star}\or + {\star\star\star}\or \dagger\or \ddagger\or + \mathchar "278\or \mathchar "27B\or \|\or **\or \dagger\dagger + \or \ddagger\ddagger \else\@ctrerr\fi}} + +\def\inst#1{\unskip$^{#1}$} +\def\fnmsep{\unskip$^,$} +\def\email#1{{\tt#1}} +\AtBeginDocument{\@ifundefined{url}{\def\url#1{#1}}{}% +\@ifpackageloaded{babel}{% +\@ifundefined{extrasenglish}{}{\addto\extrasenglish{\switcht@albion}}% +\@ifundefined{extrasfrenchb}{}{\addto\extrasfrenchb{\switcht@francais}}% +\@ifundefined{extrasgerman}{}{\addto\extrasgerman{\switcht@deutsch}}% +\@ifundefined{extrasngerman}{}{\addto\extrasngerman{\switcht@deutsch}}% +}{\switcht@@therlang}% +\providecommand{\keywords}[1]{\par\addvspace\baselineskip +\noindent\keywordname\enspace\ignorespaces#1}% +} +\def\homedir{\~{ }} + +\def\subtitle#1{\gdef\@subtitle{#1}} +\clearheadinfo +% +%%% to avoid hyperref warnings +\providecommand*{\toclevel@author}{999} +%%% to make title-entry parent of section-entries +\providecommand*{\toclevel@title}{0} +% +\renewcommand\maketitle{\newpage +\phantomsection + \refstepcounter{chapter}% + \stepcounter{section}% + \setcounter{section}{0}% + \setcounter{subsection}{0}% + \setcounter{figure}{0} + \setcounter{table}{0} + \setcounter{equation}{0} + \setcounter{footnote}{0}% + \begingroup + \parindent=\z@ + \renewcommand\thefootnote{\@fnsymbol\c@footnote}% + \if@twocolumn + \ifnum \col@number=\@ne + \@maketitle + \else + \twocolumn[\@maketitle]% + \fi + \else + \newpage + \global\@topnum\z@ % Prevents figures from going at top of page. + \@maketitle + \fi + \thispagestyle{empty}\@thanks +% + \def\\{\unskip\ \ignorespaces}\def\inst##1{\unskip{}}% + \def\thanks##1{\unskip{}}\def\fnmsep{\unskip}% + \instindent=\hsize + \advance\instindent by-\headlineindent + \if!\the\toctitle!\addcontentsline{toc}{title}{\@title}\else + \addcontentsline{toc}{title}{\the\toctitle}\fi + \if@runhead + \if!\the\titlerunning!\else + \edef\@title{\the\titlerunning}% + \fi + \global\setbox\titrun=\hbox{\small\rm\unboldmath\ignorespaces\@title}% + \ifdim\wd\titrun>\instindent + \typeout{Title too long for running head. Please supply}% + \typeout{a shorter form with \string\titlerunning\space prior to + \string\maketitle}% + \global\setbox\titrun=\hbox{\small\rm + Title Suppressed Due to Excessive Length}% + \fi + \xdef\@title{\copy\titrun}% + \fi +% + \if!\the\tocauthor!\relax + {\def\and{\noexpand\protect\noexpand\and}% + \protected@xdef\toc@uthor{\@author}}% + \else + \def\\{\noexpand\protect\noexpand\newline}% + \protected@xdef\scratch{\the\tocauthor}% + \protected@xdef\toc@uthor{\scratch}% + \fi + \addtocontents{toc}{\noexpand\protect\noexpand\authcount{\the\c@auco}}% + \addcontentsline{toc}{author}{\toc@uthor}% + \if@runhead + \if!\the\authorrunning! + \value{@inst}=\value{@auth}% + \setcounter{@auth}{1}% + \else + \edef\@author{\the\authorrunning}% + \fi + \global\setbox\authrun=\hbox{\small\unboldmath\@author\unskip}% + \ifdim\wd\authrun>\instindent + \typeout{Names of authors too long for running head. Please supply}% + \typeout{a shorter form with \string\authorrunning\space prior to + \string\maketitle}% + \global\setbox\authrun=\hbox{\small\rm + Authors Suppressed Due to Excessive Length}% + \fi + \xdef\@author{\copy\authrun}% + \markboth{\@author}{\@title}% + \fi + \endgroup + \setcounter{footnote}{\fnnstart}% + \clearheadinfo} +% +\def\@maketitle{\newpage + \markboth{}{}% + \def\lastand{\ifnum\value{@inst}=2\relax + \unskip{} \andname\ + \else + \unskip \lastandname\ + \fi}% + \def\and{\stepcounter{@auth}\relax + \ifnum\value{@auth}=\value{@inst}% + \lastand + \else + \unskip, + \fi}% + \begin{center}% + \let\newline\\ + {\Large \bfseries\boldmath + \pretolerance=10000 + \@title \par}\vskip .8cm +\if!\@subtitle!\else {\large \bfseries\boldmath + \vskip -.65cm + \pretolerance=10000 + \@subtitle \par}\vskip .8cm\fi + \setbox0=\vbox{\setcounter{@auth}{1}\def\and{\stepcounter{@auth}}% + \def\thanks##1{}\@author}% + \global\value{@inst}=\value{@auth}% + \global\value{auco}=\value{@auth}% + \setcounter{@auth}{1}% +{\lineskip .5em +\noindent\ignorespaces +\@author\vskip.35cm} + {\small\institutename} + \end{center}% + } + +% definition of the "\spnewtheorem" command. +% +% Usage: +% +% \spnewtheorem{env_nam}{caption}[within]{cap_font}{body_font} +% or \spnewtheorem{env_nam}[numbered_like]{caption}{cap_font}{body_font} +% or \spnewtheorem*{env_nam}{caption}{cap_font}{body_font} +% +% New is "cap_font" and "body_font". It stands for +% fontdefinition of the caption and the text itself. +% +% "\spnewtheorem*" gives a theorem without number. +% +% A defined spnewthoerem environment is used as described +% by Lamport. +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\def\@thmcountersep{} +\def\@thmcounterend{.} + +\def\spnewtheorem{\@ifstar{\@sthm}{\@Sthm}} + +% definition of \spnewtheorem with number + +\def\@spnthm#1#2{% + \@ifnextchar[{\@spxnthm{#1}{#2}}{\@spynthm{#1}{#2}}} +\def\@Sthm#1{\@ifnextchar[{\@spothm{#1}}{\@spnthm{#1}}} + +\def\@spxnthm#1#2[#3]#4#5{\expandafter\@ifdefinable\csname #1\endcsname + {\@definecounter{#1}\@addtoreset{#1}{#3}% + \expandafter\xdef\csname the#1\endcsname{\expandafter\noexpand + \csname the#3\endcsname \noexpand\@thmcountersep \@thmcounter{#1}}% + \expandafter\xdef\csname #1name\endcsname{#2}% + \global\@namedef{#1}{\@spthm{#1}{\csname #1name\endcsname}{#4}{#5}}% + \global\@namedef{end#1}{\@endtheorem}}} + +\def\@spynthm#1#2#3#4{\expandafter\@ifdefinable\csname #1\endcsname + {\@definecounter{#1}% + \expandafter\xdef\csname the#1\endcsname{\@thmcounter{#1}}% + \expandafter\xdef\csname #1name\endcsname{#2}% + \global\@namedef{#1}{\@spthm{#1}{\csname #1name\endcsname}{#3}{#4}}% + \global\@namedef{end#1}{\@endtheorem}}} + +\def\@spothm#1[#2]#3#4#5{% + \@ifundefined{c@#2}{\@latexerr{No theorem environment `#2' defined}\@eha}% + {\expandafter\@ifdefinable\csname #1\endcsname + {\newaliascnt{#1}{#2}% + \expandafter\xdef\csname #1name\endcsname{#3}% + \global\@namedef{#1}{\@spthm{#1}{\csname #1name\endcsname}{#4}{#5}}% + \global\@namedef{end#1}{\@endtheorem}}}} + +\def\@spthm#1#2#3#4{\topsep 7\p@ \@plus2\p@ \@minus4\p@ +\refstepcounter{#1}% +\@ifnextchar[{\@spythm{#1}{#2}{#3}{#4}}{\@spxthm{#1}{#2}{#3}{#4}}} + +\def\@spxthm#1#2#3#4{\@spbegintheorem{#2}{\csname the#1\endcsname}{#3}{#4}% + \ignorespaces} + +\def\@spythm#1#2#3#4[#5]{\@spopargbegintheorem{#2}{\csname + the#1\endcsname}{#5}{#3}{#4}\ignorespaces} + +\def\@spbegintheorem#1#2#3#4{\trivlist + \item[\hskip\labelsep{#3#1\ #2\@thmcounterend}]#4} + +\def\@spopargbegintheorem#1#2#3#4#5{\trivlist + \item[\hskip\labelsep{#4#1\ #2}]{#4(#3)\@thmcounterend\ }#5} + +% definition of \spnewtheorem* without number + +\def\@sthm#1#2{\@Ynthm{#1}{#2}} + +\def\@Ynthm#1#2#3#4{\expandafter\@ifdefinable\csname #1\endcsname + {\global\@namedef{#1}{\@Thm{\csname #1name\endcsname}{#3}{#4}}% + \expandafter\xdef\csname #1name\endcsname{#2}% + \global\@namedef{end#1}{\@endtheorem}}} + +\def\@Thm#1#2#3{\topsep 7\p@ \@plus2\p@ \@minus4\p@ +\@ifnextchar[{\@Ythm{#1}{#2}{#3}}{\@Xthm{#1}{#2}{#3}}} + +\def\@Xthm#1#2#3{\@Begintheorem{#1}{#2}{#3}\ignorespaces} + +\def\@Ythm#1#2#3[#4]{\@Opargbegintheorem{#1} + {#4}{#2}{#3}\ignorespaces} + +\def\@Begintheorem#1#2#3{#3\trivlist + \item[\hskip\labelsep{#2#1\@thmcounterend}]} + +\def\@Opargbegintheorem#1#2#3#4{#4\trivlist + \item[\hskip\labelsep{#3#1}]{#3(#2)\@thmcounterend\ }} + +\if@envcntsect + \def\@thmcountersep{.} + \spnewtheorem{theorem}{Theorem}[section]{\bfseries}{\itshape} +\else + \spnewtheorem{theorem}{Theorem}{\bfseries}{\itshape} + \if@envcntreset + \@addtoreset{theorem}{section} + \else + \@addtoreset{theorem}{chapter} + \fi +\fi + +%definition of divers theorem environments +\spnewtheorem*{claim}{Claim}{\itshape}{\rmfamily} +\spnewtheorem*{proof}{Proof}{\itshape}{\rmfamily} +\if@envcntsame % alle Umgebungen wie Theorem. + \def\spn@wtheorem#1#2#3#4{\@spothm{#1}[theorem]{#2}{#3}{#4}} +\else % alle Umgebungen mit eigenem Zaehler + \if@envcntsect % mit section numeriert + \def\spn@wtheorem#1#2#3#4{\@spxnthm{#1}{#2}[section]{#3}{#4}} + \else % nicht mit section numeriert + \if@envcntreset + \def\spn@wtheorem#1#2#3#4{\@spynthm{#1}{#2}{#3}{#4} + \@addtoreset{#1}{section}} + \else + \def\spn@wtheorem#1#2#3#4{\@spynthm{#1}{#2}{#3}{#4} + \@addtoreset{#1}{chapter}}% + \fi + \fi +\fi +\spn@wtheorem{case}{Case}{\itshape}{\rmfamily} +\spn@wtheorem{conjecture}{Conjecture}{\itshape}{\rmfamily} +\spn@wtheorem{corollary}{Corollary}{\bfseries}{\itshape} +\spn@wtheorem{definition}{Definition}{\bfseries}{\itshape} +\spn@wtheorem{example}{Example}{\itshape}{\rmfamily} +\spn@wtheorem{exercise}{Exercise}{\itshape}{\rmfamily} +\spn@wtheorem{lemma}{Lemma}{\bfseries}{\itshape} +\spn@wtheorem{note}{Note}{\itshape}{\rmfamily} +\spn@wtheorem{problem}{Problem}{\itshape}{\rmfamily} +\spn@wtheorem{property}{Property}{\itshape}{\rmfamily} +\spn@wtheorem{proposition}{Proposition}{\bfseries}{\itshape} +\spn@wtheorem{question}{Question}{\itshape}{\rmfamily} +\spn@wtheorem{solution}{Solution}{\itshape}{\rmfamily} +\spn@wtheorem{remark}{Remark}{\itshape}{\rmfamily} + +\def\@takefromreset#1#2{% + \def\@tempa{#1}% + \let\@tempd\@elt + \def\@elt##1{% + \def\@tempb{##1}% + \ifx\@tempa\@tempb\else + \@addtoreset{##1}{#2}% + \fi}% + \expandafter\expandafter\let\expandafter\@tempc\csname cl@#2\endcsname + \expandafter\def\csname cl@#2\endcsname{}% + \@tempc + \let\@elt\@tempd} + +\def\theopargself{\def\@spopargbegintheorem##1##2##3##4##5{\trivlist + \item[\hskip\labelsep{##4##1\ ##2}]{##4##3\@thmcounterend\ }##5} + \def\@Opargbegintheorem##1##2##3##4{##4\trivlist + \item[\hskip\labelsep{##3##1}]{##3##2\@thmcounterend\ }} + } + +\renewenvironment{abstract}{% + \list{}{\advance\topsep by0.35cm\relax\small + \leftmargin=1cm + \labelwidth=\z@ + \listparindent=\z@ + \itemindent\listparindent + \rightmargin\leftmargin}\item[\hskip\labelsep + \bfseries\abstractname]} + {\endlist} + +\newdimen\headlineindent % dimension for space between +\headlineindent=1.166cm % number and text of headings. + +\def\ps@headings{\let\@mkboth\@gobbletwo + \let\@oddfoot\@empty\let\@evenfoot\@empty + \def\@evenhead{\normalfont\small\rlap{\thepage}\hspace{\headlineindent}% + \leftmark\hfil} + \def\@oddhead{\normalfont\small\hfil\rightmark\hspace{\headlineindent}% + \llap{\thepage}} + \def\chaptermark##1{}% + \def\sectionmark##1{}% + \def\subsectionmark##1{}} + +\def\ps@titlepage{\let\@mkboth\@gobbletwo + \let\@oddfoot\@empty\let\@evenfoot\@empty + \def\@evenhead{\normalfont\small\rlap{\thepage}\hspace{\headlineindent}% + \hfil} + \def\@oddhead{\normalfont\small\hfil\hspace{\headlineindent}% + \llap{\thepage}} + \def\chaptermark##1{}% + \def\sectionmark##1{}% + \def\subsectionmark##1{}} + +\if@runhead\ps@headings\else +\ps@empty\fi + +\setlength\arraycolsep{1.4\p@} +\setlength\tabcolsep{1.4\p@} + +\endinput +%end of file llncs.cls
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/llncsdoc.sty Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,42 @@ +% This is LLNCSDOC.STY the modification of the +% LLNCS class file for the documentation of +% the class itself. +% +\def\AmS{{\protect\usefont{OMS}{cmsy}{m}{n}% + A\kern-.1667em\lower.5ex\hbox{M}\kern-.125emS}} +\def\AmSTeX{{\protect\AmS-\protect\TeX}} +% +\def\ps@myheadings{\let\@mkboth\@gobbletwo +\def\@oddhead{\hbox{}\hfil\small\rm\rightmark +\qquad\thepage}% +\def\@oddfoot{}\def\@evenhead{\small\rm\thepage\qquad +\leftmark\hfil}% +\def\@evenfoot{}\def\sectionmark##1{}\def\subsectionmark##1{}} +\ps@myheadings +% +\setcounter{tocdepth}{2} +% +\renewcommand{\labelitemi}{--} +\newenvironment{alpherate}% +{\renewcommand{\labelenumi}{\alph{enumi})}\begin{enumerate}}% +{\end{enumerate}\renewcommand{\labelenumi}{enumi}} +% +\def\bibauthoryear{\begingroup +\def\thebibliography##1{\section*{References}% + \small\list{}{\settowidth\labelwidth{}\leftmargin\parindent + \itemindent=-\parindent + \labelsep=\z@ + \usecounter{enumi}}% + \def\newblock{\hskip .11em plus .33em minus -.07em}% + \sloppy + \sfcode`\.=1000\relax}% + \def\@cite##1{##1}% + \def\@lbibitem[##1]##2{\item[]\if@filesw + {\def\protect####1{\string ####1\space}\immediate + \write\@auxout{\string\bibcite{##2}{##1}}}\fi\ignorespaces}% +\begin{thebibliography}{} +\bibitem[1982]{clar:eke3} Clarke, F., Ekeland, I.: Nonlinear +oscillations and boundary-value problems for Hamiltonian systems. +Arch. Rat. Mech. Anal. 78, 315--333 (1982) +\end{thebibliography} +\endgroup}
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/splncs.bst Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,1080 @@ +% BibTeX bibliography style `splncs' + +% An attempt to match the bibliography style required for use with +% numbered references in Springer Verlag's "Lecture Notes in Computer +% Science" series. (See Springer's documentation for llncs.sty for +% more details of the suggested reference format.) Note that this +% file will not work for author-year style citations. + +% Use \documentclass{llncs} and \bibliographystyle{splncs}, and cite +% a reference with (e.g.) \cite{smith77} to get a "[1]" in the text. + +% Copyright (C) 1999 Jason Noble. +% Last updated: Thursday 20 May 1999, 13:22:19 +% +% Based on the BibTeX standard bibliography style `unsrt' + +ENTRY + { address + author + booktitle + chapter + edition + editor + howpublished + institution + journal + key + month + note + number + organization + pages + publisher + school + series + title + type + volume + year + } + {} + { label } + +INTEGERS { output.state before.all mid.sentence after.sentence + after.block after.authors between.elements} + +FUNCTION {init.state.consts} +{ #0 'before.all := + #1 'mid.sentence := + #2 'after.sentence := + #3 'after.block := + #4 'after.authors := + #5 'between.elements := +} + +STRINGS { s t } + +FUNCTION {output.nonnull} +{ 's := + output.state mid.sentence = + { " " * write$ } + { output.state after.block = + { add.period$ write$ + newline$ + "\newblock " write$ + } + { + output.state after.authors = + { ": " * write$ + newline$ + "\newblock " write$ + } + { output.state between.elements = + { ", " * write$ } + { output.state before.all = + 'write$ + { add.period$ " " * write$ } + if$ + } + if$ + } + if$ + } + if$ + mid.sentence 'output.state := + } + if$ + s +} + +FUNCTION {output} +{ duplicate$ empty$ + 'pop$ + 'output.nonnull + if$ +} + +FUNCTION {output.check} +{ 't := + duplicate$ empty$ + { pop$ "empty " t * " in " * cite$ * warning$ } + 'output.nonnull + if$ +} + +FUNCTION {output.bibitem} +{ newline$ + "\bibitem{" write$ + cite$ write$ + "}" write$ + newline$ + "" + before.all 'output.state := +} + +FUNCTION {fin.entry} +{ write$ + newline$ +} + +FUNCTION {new.block} +{ output.state before.all = + 'skip$ + { after.block 'output.state := } + if$ +} + +FUNCTION {stupid.colon} +{ after.authors 'output.state := } + +FUNCTION {insert.comma} +{ output.state before.all = + 'skip$ + { between.elements 'output.state := } + if$ +} + +FUNCTION {new.sentence} +{ output.state after.block = + 'skip$ + { output.state before.all = + 'skip$ + { after.sentence 'output.state := } + if$ + } + if$ +} + +FUNCTION {not} +{ { #0 } + { #1 } + if$ +} + +FUNCTION {and} +{ 'skip$ + { pop$ #0 } + if$ +} + +FUNCTION {or} +{ { pop$ #1 } + 'skip$ + if$ +} + +FUNCTION {new.block.checka} +{ empty$ + 'skip$ + 'new.block + if$ +} + +FUNCTION {new.block.checkb} +{ empty$ + swap$ empty$ + and + 'skip$ + 'new.block + if$ +} + +FUNCTION {new.sentence.checka} +{ empty$ + 'skip$ + 'new.sentence + if$ +} + +FUNCTION {new.sentence.checkb} +{ empty$ + swap$ empty$ + and + 'skip$ + 'new.sentence + if$ +} + +FUNCTION {field.or.null} +{ duplicate$ empty$ + { pop$ "" } + 'skip$ + if$ +} + +FUNCTION {emphasize} +{ duplicate$ empty$ + { pop$ "" } + { "" swap$ * "" * } + if$ +} + +FUNCTION {bold} +{ duplicate$ empty$ + { pop$ "" } + { "\textbf{" swap$ * "}" * } + if$ +} + +FUNCTION {parens} +{ duplicate$ empty$ + { pop$ "" } + { "(" swap$ * ")" * } + if$ +} + +INTEGERS { nameptr namesleft numnames } + +FUNCTION {format.springer.names} +{ 's := + #1 'nameptr := + s num.names$ 'numnames := + numnames 'namesleft := + { namesleft #0 > } + { s nameptr "{vv~}{ll}{, jj}{, f{.}.}" format.name$ 't := + nameptr #1 > + { namesleft #1 > + { ", " * t * } + { numnames #1 > + { ", " * } + 'skip$ + if$ + t "others" = + { " et~al." * } + { "" * t * } + if$ + } + if$ + } + 't + if$ + nameptr #1 + 'nameptr := + namesleft #1 - 'namesleft := + } + while$ +} + +FUNCTION {format.names} +{ 's := + #1 'nameptr := + s num.names$ 'numnames := + numnames 'namesleft := + { namesleft #0 > } + { s nameptr "{vv~}{ll}{, jj}{, f.}" format.name$ 't := + nameptr #1 > + { namesleft #1 > + { ", " * t * } + { numnames #2 > + { "," * } + 'skip$ + if$ + t "others" = + { " et~al." * } + { " \& " * t * } + if$ + } + if$ + } + 't + if$ + nameptr #1 + 'nameptr := + namesleft #1 - 'namesleft := + } + while$ +} + +FUNCTION {format.authors} +{ author empty$ + { "" } + { author format.springer.names } + if$ +} + +FUNCTION {format.editors} +{ editor empty$ + { "" } + { editor format.springer.names + editor num.names$ #1 > + { ", eds." * } + { ", ed." * } + if$ + } + if$ +} + +FUNCTION {format.title} +{ title empty$ + { "" } + { title "t" change.case$ } + if$ +} + +FUNCTION {n.dashify} +{ 't := + "" + { t empty$ not } + { t #1 #1 substring$ "-" = + { t #1 #2 substring$ "--" = not + { "--" * + t #2 global.max$ substring$ 't := + } + { { t #1 #1 substring$ "-" = } + { "-" * + t #2 global.max$ substring$ 't := + } + while$ + } + if$ + } + { t #1 #1 substring$ * + t #2 global.max$ substring$ 't := + } + if$ + } + while$ +} + +FUNCTION {format.date} +{ year empty$ + { "there's no year in " cite$ * warning$ } + 'year + if$ +} + +FUNCTION {format.btitle} +{ title emphasize +} + +FUNCTION {tie.or.space.connect} +{ duplicate$ text.length$ #3 < + { "~" } + { " " } + if$ + swap$ * * +} + +FUNCTION {either.or.check} +{ empty$ + 'pop$ + { "can't use both " swap$ * " fields in " * cite$ * warning$ } + if$ +} + +FUNCTION {format.bvolume} +{ volume empty$ + { "" } + { "Volume" volume tie.or.space.connect + series empty$ + 'skip$ + { " of " * series emphasize * } + if$ + add.period$ + "volume and number" number either.or.check + } + if$ +} + +FUNCTION {format.number.series} +{ volume empty$ + { number empty$ + { series field.or.null } + { output.state mid.sentence = + { "number" } + { "Number" } + if$ + number tie.or.space.connect + series empty$ + { "there's a number but no series in " cite$ * warning$ } + { " in " * series * } + if$ + } + if$ + } + { "" } + if$ +} + +FUNCTION {format.edition} +{ edition empty$ + { "" } + { output.state mid.sentence = + { edition "l" change.case$ " edn." * } + { edition "t" change.case$ " edn." * } + if$ + } + if$ +} + +INTEGERS { multiresult } + +FUNCTION {multi.page.check} +{ 't := + #0 'multiresult := + { multiresult not + t empty$ not + and + } + { t #1 #1 substring$ + duplicate$ "-" = + swap$ duplicate$ "," = + swap$ "+" = + or or + { #1 'multiresult := } + { t #2 global.max$ substring$ 't := } + if$ + } + while$ + multiresult +} + +FUNCTION {format.pages} +{ pages empty$ + { "" } + { pages multi.page.check + { "" pages n.dashify tie.or.space.connect } + { "" pages tie.or.space.connect } + if$ + } + if$ +} + +FUNCTION {format.vol} +{ volume bold +} + +FUNCTION {pre.format.pages} +{ pages empty$ + 'skip$ + { duplicate$ empty$ + { pop$ format.pages } + { " " * pages n.dashify * } + if$ + } + if$ +} + +FUNCTION {format.chapter.pages} +{ chapter empty$ + 'format.pages + { type empty$ + { "chapter" } + { type "l" change.case$ } + if$ + chapter tie.or.space.connect + pages empty$ + 'skip$ + { " " * format.pages * } + if$ + } + if$ +} + +FUNCTION {format.in.ed.booktitle} +{ booktitle empty$ + { "" } + { editor empty$ + { "In: " booktitle emphasize * } + { "In " format.editors * ": " * booktitle emphasize * } + if$ + } + if$ +} + +FUNCTION {empty.misc.check} +{ author empty$ title empty$ howpublished empty$ + month empty$ year empty$ note empty$ + and and and and and + { "all relevant fields are empty in " cite$ * warning$ } + 'skip$ + if$ +} + +FUNCTION {format.thesis.type} +{ type empty$ + 'skip$ + { pop$ + type "t" change.case$ + } + if$ +} + +FUNCTION {format.tr.number} +{ type empty$ + { "Technical Report" } + 'type + if$ + number empty$ + { "t" change.case$ } + { number tie.or.space.connect } + if$ +} + +FUNCTION {format.article.crossref} +{ key empty$ + { journal empty$ + { "need key or journal for " cite$ * " to crossref " * crossref * + warning$ + "" + } + { "In {\em " journal * "\/}" * } + if$ + } + { "In " key * } + if$ + " \cite{" * crossref * "}" * +} + +FUNCTION {format.crossref.editor} +{ editor #1 "{vv~}{ll}" format.name$ + editor num.names$ duplicate$ + #2 > + { pop$ " et~al." * } + { #2 < + 'skip$ + { editor #2 "{ff }{vv }{ll}{ jj}" format.name$ "others" = + { " et~al." * } + { " and " * editor #2 "{vv~}{ll}" format.name$ * } + if$ + } + if$ + } + if$ +} + +FUNCTION {format.book.crossref} +{ volume empty$ + { "empty volume in " cite$ * "'s crossref of " * crossref * warning$ + "In " + } + { "Volume" volume tie.or.space.connect + " of " * + } + if$ + " \cite{" * crossref * "}" * +} + +FUNCTION {format.incoll.inproc.crossref} +{ editor empty$ + editor field.or.null author field.or.null = + or + { key empty$ + { booktitle empty$ + { "need editor, key, or booktitle for " cite$ * " to crossref " * + crossref * warning$ + "" + } + { "" } + if$ + } + { "" } + if$ + } + { "" } + if$ + " \cite{" * crossref * "}" * +} + +FUNCTION {and.the.note} +{ note output + note empty$ + 'skip$ + { add.period$ } + if$ +} + +FUNCTION {article} +{ output.bibitem + format.authors "author" output.check + stupid.colon + format.title "title" output.check + new.block + crossref missing$ + { journal emphasize "journal" output.check + format.vol output + format.date parens output + format.pages output + } + { format.article.crossref output.nonnull + format.pages output + } + if$ + and.the.note + fin.entry +} + +FUNCTION {book} +{ output.bibitem + author empty$ + { format.editors "author and editor" output.check } + { format.authors output.nonnull + crossref missing$ + { "author and editor" editor either.or.check } + 'skip$ + if$ + } + if$ + stupid.colon + format.btitle "title" output.check + new.sentence + crossref missing$ + { format.edition output + format.bvolume output + new.block + format.number.series output + new.sentence + publisher "publisher" output.check + address empty$ + 'skip$ + { insert.comma } + if$ + address output + format.date parens output + } + { format.book.crossref output.nonnull + } + if$ + and.the.note + fin.entry +} + +FUNCTION {booklet} +{ output.bibitem + format.authors output + stupid.colon + format.title "title" output.check + howpublished address new.block.checkb + howpublished output + address empty$ + 'skip$ + { insert.comma } + if$ + address output + format.date parens output + and.the.note + fin.entry +} + +FUNCTION {inbook} +{ output.bibitem + author empty$ + { format.editors "author and editor" output.check } + { format.authors output.nonnull + crossref missing$ + { "author and editor" editor either.or.check } + 'skip$ + if$ + } + if$ + stupid.colon + crossref missing$ + { chapter output + new.block + format.number.series output + new.sentence + "In:" output + format.btitle "title" output.check + new.sentence + format.edition output + format.bvolume output + publisher "publisher" output.check + address empty$ + 'skip$ + { insert.comma } + if$ + address output + format.date parens output + } + { chapter output + new.block + format.incoll.inproc.crossref output.nonnull + } + if$ + format.pages output + and.the.note + fin.entry +} + +FUNCTION {incollection} +{ output.bibitem + format.authors "author" output.check + stupid.colon + format.title "title" output.check + new.block + crossref missing$ + { format.in.ed.booktitle "booktitle" output.check + new.sentence + format.bvolume output + format.number.series output + new.block + format.edition output + publisher "publisher" output.check + address empty$ + 'skip$ + { insert.comma } + if$ + address output + format.date parens output + format.pages output + } + { format.incoll.inproc.crossref output.nonnull + format.chapter.pages output + } + if$ + and.the.note + fin.entry +} + +FUNCTION {inproceedings} +{ output.bibitem + format.authors "author" output.check + stupid.colon + format.title "title" output.check + new.block + crossref missing$ + { format.in.ed.booktitle "booktitle" output.check + new.sentence + format.bvolume output + format.number.series output + address empty$ + { organization publisher new.sentence.checkb + organization empty$ + 'skip$ + { insert.comma } + if$ + organization output + publisher empty$ + 'skip$ + { insert.comma } + if$ + publisher output + format.date parens output + } + { insert.comma + address output.nonnull + organization empty$ + 'skip$ + { insert.comma } + if$ + organization output + publisher empty$ + 'skip$ + { insert.comma } + if$ + publisher output + format.date parens output + } + if$ + } + { format.incoll.inproc.crossref output.nonnull + } + if$ + format.pages output + and.the.note + fin.entry +} + +FUNCTION {conference} { inproceedings } + +FUNCTION {manual} +{ output.bibitem + author empty$ + { organization empty$ + 'skip$ + { organization output.nonnull + address output + } + if$ + } + { format.authors output.nonnull } + if$ + stupid.colon + format.btitle "title" output.check + author empty$ + { organization empty$ + { address new.block.checka + address output + } + 'skip$ + if$ + } + { organization address new.block.checkb + organization output + address empty$ + 'skip$ + { insert.comma } + if$ + address output + } + if$ + new.sentence + format.edition output + format.date parens output + and.the.note + fin.entry +} + +FUNCTION {mastersthesis} +{ output.bibitem + format.authors "author" output.check + stupid.colon + format.title "title" output.check + new.block + "Master's thesis" format.thesis.type output.nonnull + school empty$ + 'skip$ + { insert.comma } + if$ + school "school" output.check + address empty$ + 'skip$ + { insert.comma } + if$ + address output + format.date parens output + and.the.note + fin.entry +} + +FUNCTION {misc} +{ output.bibitem + format.authors "author" output.check + stupid.colon + format.title "title" output.check + howpublished new.block.checka + howpublished output + format.date parens output + and.the.note + fin.entry + empty.misc.check +} + +FUNCTION {phdthesis} +{ output.bibitem + format.authors "author" output.check + stupid.colon + format.btitle "title" output.check + new.block + "PhD thesis" format.thesis.type output.nonnull + school empty$ + 'skip$ + { insert.comma } + if$ + school "school" output.check + address empty$ + 'skip$ + { insert.comma } + if$ + address output + format.date parens output + and.the.note + fin.entry +} + +FUNCTION {proceedings} +{ output.bibitem + editor empty$ + { organization empty$ + { "" } + { organization output + stupid.colon } + if$ + } + { format.editors output.nonnull + stupid.colon + } + if$ + format.btitle "title" output.check + new.block + crossref missing$ + { format.in.ed.booktitle "booktitle" output.check + new.sentence + format.bvolume output + format.number.series output + address empty$ + { organization publisher new.sentence.checkb + organization empty$ + 'skip$ + { insert.comma } + if$ + organization output + publisher empty$ + 'skip$ + { insert.comma } + if$ + publisher output + format.date parens output + } + { insert.comma + address output.nonnull + organization empty$ + 'skip$ + { insert.comma } + if$ + organization output + publisher empty$ + 'skip$ + { insert.comma } + if$ + publisher output + format.date parens output + } + if$ + } + { format.incoll.inproc.crossref output.nonnull + } + if$ + and.the.note + fin.entry +} + +FUNCTION {techreport} +{ output.bibitem + format.authors "author" output.check + stupid.colon + format.title "title" output.check + new.block + format.tr.number output.nonnull + institution empty$ + 'skip$ + { insert.comma } + if$ + institution "institution" output.check + address empty$ + 'skip$ + { insert.comma } + if$ + address output + format.date parens output + and.the.note + fin.entry +} + +FUNCTION {unpublished} +{ output.bibitem + format.authors "author" output.check + stupid.colon + format.title "title" output.check + new.block + note "note" output.check + format.date parens output + fin.entry +} + +FUNCTION {default.type} { misc } + +MACRO {jan} {"January"} + +MACRO {feb} {"February"} + +MACRO {mar} {"March"} + +MACRO {apr} {"April"} + +MACRO {may} {"May"} + +MACRO {jun} {"June"} + +MACRO {jul} {"July"} + +MACRO {aug} {"August"} + +MACRO {sep} {"September"} + +MACRO {oct} {"October"} + +MACRO {nov} {"November"} + +MACRO {dec} {"December"} + +MACRO {acmcs} {"ACM Computing Surveys"} + +MACRO {acta} {"Acta Informatica"} + +MACRO {cacm} {"Communications of the ACM"} + +MACRO {ibmjrd} {"IBM Journal of Research and Development"} + +MACRO {ibmsj} {"IBM Systems Journal"} + +MACRO {ieeese} {"IEEE Transactions on Software Engineering"} + +MACRO {ieeetc} {"IEEE Transactions on Computers"} + +MACRO {ieeetcad} + {"IEEE Transactions on Computer-Aided Design of Integrated Circuits"} + +MACRO {ipl} {"Information Processing Letters"} + +MACRO {jacm} {"Journal of the ACM"} + +MACRO {jcss} {"Journal of Computer and System Sciences"} + +MACRO {scp} {"Science of Computer Programming"} + +MACRO {sicomp} {"SIAM Journal on Computing"} + +MACRO {tocs} {"ACM Transactions on Computer Systems"} + +MACRO {tods} {"ACM Transactions on Database Systems"} + +MACRO {tog} {"ACM Transactions on Graphics"} + +MACRO {toms} {"ACM Transactions on Mathematical Software"} + +MACRO {toois} {"ACM Transactions on Office Information Systems"} + +MACRO {toplas} {"ACM Transactions on Programming Languages and Systems"} + +MACRO {tcs} {"Theoretical Computer Science"} + +READ + +STRINGS { longest.label } + +INTEGERS { number.label longest.label.width } + +FUNCTION {initialize.longest.label} +{ "" 'longest.label := + #1 'number.label := + #0 'longest.label.width := +} + +FUNCTION {longest.label.pass} +{ number.label int.to.str$ 'label := + number.label #1 + 'number.label := + label width$ longest.label.width > + { label 'longest.label := + label width$ 'longest.label.width := + } + 'skip$ + if$ +} + +EXECUTE {initialize.longest.label} + +ITERATE {longest.label.pass} + +FUNCTION {begin.bib} +{ preamble$ empty$ + 'skip$ + { preamble$ write$ newline$ } + if$ + "\begin{thebibliography}{" longest.label * "}" * write$ newline$ +} + +EXECUTE {begin.bib} + +EXECUTE {init.state.consts} + +ITERATE {call.type$} + +FUNCTION {end.bib} +{ newline$ + "\end{thebibliography}" write$ newline$ +} + +EXECUTE {end.bib} + + +
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Write Up/splncsnat.bst Wed Feb 25 16:07:05 2015 +0000 @@ -0,0 +1,1508 @@ +%% natbib-compatible BibTeX bibliography style `splncsnat' +%% +%% BibTeX bibliography style for use with numbered references in +%% Springer Verlag's "Lecture Notes in Computer Science" series. +%% (See Springer's documentation for llncs.cls for +%% more details of the suggested reference format.) +%% +%% Use +%% +%% \documentclass{llncs} +%% \usepackage[numbers]{natbib} +%% \bibliographystyle{splncsnat} +%% +%% and cite references with (e.g.) +%% +%% \cite{smith77} % to get a "[1]" in the text +%% \citep{smith77} % to get a "[1]" in the text +%% \citet{smith77} % to get a "Smith [1]" in the text +%% \citeauthor{smith77} % to get a "Smith" in the text +%% +%% The changes below are inspired by similar changes made to +%% splncs03.bst by Maurizio "Titto" Patrignani of +%% Dipartimento di Informatica e Automazione Universita' Roma Tre. +%% Unfortunately, splncs03.bst was not compatible with natbib (because it +%% was not built with author-year capability). +%% +%% ================================================================================================ +%% MANUAL CHANGES +%% (with respect to splncsnat-unpatched.bst produced from +%% splncsnat-unpatched.dbj): +%% [ search for ++++ to find the changes ] +%% - Emptied \urlprefix by default +%% - Added a new.sentence command to separate with a dot booktitle and series in the inproceedings +%% - Commented all new.block commands before notes (to separate them with a comma) +%% ================================================================================================ +%% +%% This is derived from `splncsnat-unpatched.bst', +%% generated with the docstrip utility. +%% +%% The original source files for splncsnat-unpatched.bst were: +%% +%% merlin.mbs (with options: `ay,nat,vonx,nm-rvvc,ed-rev,yr-par,aymth,note-yr,jttl-rm,volp-com,numser,ser-vol,jnm-x,btit-rm,bt-rm,edparxc,au-col,in-col,fin-bare,pp,ed,abr,mth-bare,xedn,jabr,and-com,and-com-ed,xand,url,url-nt,em-x,nfss,') +%% ---------------------------------------- +%% *** natbib-compatible .bst file for Springer LNCS *** +%% +%% Copyright 1994-2007 Patrick W Daly + % =============================================================== + % IMPORTANT NOTICE: + % This bibliographic style (bst) file has been generated from one or + % more master bibliographic style (mbs) files, listed above. + % + % This generated file can be redistributed and/or modified under the terms + % of the LaTeX Project Public License Distributed from CTAN + % archives in directory macros/latex/base/lppl.txt; either + % version 1 of the License, or any later version. + % =============================================================== + % Name and version information of the main mbs file: + % \ProvidesFile{merlin.mbs}[2007/04/24 4.20 (PWD, AO, DPC)] + % For use with BibTeX version 0.99a or later + %------------------------------------------------------------------- + % This bibliography style file is intended for texts in ENGLISH + % This is an author-year citation style bibliography. As such, it is + % non-standard LaTeX, and requires a special package file to function properly. + % Such a package is natbib.sty by Patrick W. Daly + % The form of the \bibitem entries is + % \bibitem[Jones et al.(1990)]{key}... + % \bibitem[Jones et al.(1990)Jones, Baker, and Smith]{key}... + % The essential feature is that the label (the part in brackets) consists + % of the author names, as they should appear in the citation, with the year + % in parentheses following. There must be no space before the opening + % parenthesis! + % With natbib v5.3, a full list of authors may also follow the year. + % In natbib.sty, it is possible to define the type of enclosures that is + % really wanted (brackets or parentheses), but in either case, there must + % be parentheses in the label. + % The \cite command functions as follows: + % \citet{key} ==>> Jones et al. (1990) + % \citet*{key} ==>> Jones, Baker, and Smith (1990) + % \citep{key} ==>> (Jones et al., 1990) + % \citep*{key} ==>> (Jones, Baker, and Smith, 1990) + % \citep[chap. 2]{key} ==>> (Jones et al., 1990, chap. 2) + % \citep[e.g.][]{key} ==>> (e.g. Jones et al., 1990) + % \citep[e.g.][p. 32]{key} ==>> (e.g. Jones et al., p. 32) + % \citeauthor{key} ==>> Jones et al. + % \citeauthor*{key} ==>> Jones, Baker, and Smith + % \citeyear{key} ==>> 1990 + %--------------------------------------------------------------------- + +ENTRY + { address + author + booktitle + chapter + edition + editor + eid + howpublished + institution + journal + key + month + note + number + organization + pages + publisher + school + series + title + type + url + volume + year + } + {} + { label extra.label sort.label short.list } +INTEGERS { output.state before.all mid.sentence after.sentence after.block } +FUNCTION {init.state.consts} +{ #0 'before.all := + #1 'mid.sentence := + #2 'after.sentence := + #3 'after.block := +} +STRINGS { s t} +FUNCTION {output.nonnull} +{ 's := + output.state mid.sentence = + { ", " * write$ } + { output.state after.block = + { add.period$ write$ + newline$ + "\newblock " write$ + } + { output.state before.all = + 'write$ + { add.period$ " " * write$ } + if$ + } + if$ + mid.sentence 'output.state := + } + if$ + s +} +FUNCTION {output} +{ duplicate$ empty$ + 'pop$ + 'output.nonnull + if$ +} +FUNCTION {output.check} +{ 't := + duplicate$ empty$ + { pop$ "empty " t * " in " * cite$ * warning$ } + 'output.nonnull + if$ +} +FUNCTION {fin.entry} +{ duplicate$ empty$ + 'pop$ + 'write$ + if$ + newline$ +} + +FUNCTION {new.block} +{ output.state before.all = + 'skip$ + { after.block 'output.state := } + if$ +} +FUNCTION {new.sentence} +{ output.state after.block = + 'skip$ + { output.state before.all = + 'skip$ + { after.sentence 'output.state := } + if$ + } + if$ +} +FUNCTION {add.blank} +{ " " * before.all 'output.state := +} + +FUNCTION {add.colon} +{ duplicate$ empty$ + 'skip$ + { ":" * add.blank } + if$ +} + +FUNCTION {date.block} +{ + new.block +} + +FUNCTION {not} +{ { #0 } + { #1 } + if$ +} +FUNCTION {and} +{ 'skip$ + { pop$ #0 } + if$ +} +FUNCTION {or} +{ { pop$ #1 } + 'skip$ + if$ +} +STRINGS {z} +FUNCTION {remove.dots} +{ 'z := + "" + { z empty$ not } + { z #1 #1 substring$ + z #2 global.max$ substring$ 'z := + duplicate$ "." = 'pop$ + { * } + if$ + } + while$ +} +FUNCTION {new.block.checkb} +{ empty$ + swap$ empty$ + and + 'skip$ + 'new.block + if$ +} +FUNCTION {field.or.null} +{ duplicate$ empty$ + { pop$ "" } + 'skip$ + if$ +} +FUNCTION {emphasize} +{ skip$ } +FUNCTION {tie.or.space.prefix} +{ duplicate$ text.length$ #3 < + { "~" } + { " " } + if$ + swap$ +} + +FUNCTION {capitalize} +{ "u" change.case$ "t" change.case$ } + +FUNCTION {space.word} +{ " " swap$ * " " * } + % Here are the language-specific definitions for explicit words. + % Each function has a name bbl.xxx where xxx is the English word. + % The language selected here is ENGLISH +FUNCTION {bbl.and} +{ "and"} + +FUNCTION {bbl.etal} +{ "et~al." } + +FUNCTION {bbl.editors} +{ "eds." } + +FUNCTION {bbl.editor} +{ "ed." } + +FUNCTION {bbl.edby} +{ "edited by" } + +FUNCTION {bbl.edition} +{ "edn." } + +FUNCTION {bbl.volume} +{ "vol." } + +FUNCTION {bbl.of} +{ "of" } + +FUNCTION {bbl.number} +{ "no." } + +FUNCTION {bbl.nr} +{ "no." } + +FUNCTION {bbl.in} +{ "in" } + +FUNCTION {bbl.pages} +{ "pp." } + +FUNCTION {bbl.page} +{ "p." } + +FUNCTION {bbl.chapter} +{ "chap." } + +FUNCTION {bbl.techrep} +{ "Tech. Rep." } + +FUNCTION {bbl.mthesis} +{ "Master's thesis" } + +FUNCTION {bbl.phdthesis} +{ "Ph.D. thesis" } + +MACRO {jan} {"Jan."} + +MACRO {feb} {"Feb."} + +MACRO {mar} {"Mar."} + +MACRO {apr} {"Apr."} + +MACRO {may} {"May"} + +MACRO {jun} {"Jun."} + +MACRO {jul} {"Jul."} + +MACRO {aug} {"Aug."} + +MACRO {sep} {"Sep."} + +MACRO {oct} {"Oct."} + +MACRO {nov} {"Nov."} + +MACRO {dec} {"Dec."} + +MACRO {acmcs} {"ACM Comput. Surv."} + +MACRO {acta} {"Acta Inf."} + +MACRO {cacm} {"Commun. ACM"} + +MACRO {ibmjrd} {"IBM J. Res. Dev."} + +MACRO {ibmsj} {"IBM Syst.~J."} + +MACRO {ieeese} {"IEEE Trans. Software Eng."} + +MACRO {ieeetc} {"IEEE Trans. Comput."} + +MACRO {ieeetcad} + {"IEEE Trans. Comput. Aid. Des."} + +MACRO {ipl} {"Inf. Process. Lett."} + +MACRO {jacm} {"J.~ACM"} + +MACRO {jcss} {"J.~Comput. Syst. Sci."} + +MACRO {scp} {"Sci. Comput. Program."} + +MACRO {sicomp} {"SIAM J. Comput."} + +MACRO {tocs} {"ACM Trans. Comput. Syst."} + +MACRO {tods} {"ACM Trans. Database Syst."} + +MACRO {tog} {"ACM Trans. Graphic."} + +MACRO {toms} {"ACM Trans. Math. Software"} + +MACRO {toois} {"ACM Trans. Office Inf. Syst."} + +MACRO {toplas} {"ACM Trans. Progr. Lang. Syst."} + +MACRO {tcs} {"Theor. Comput. Sci."} + +FUNCTION {bibinfo.check} +{ swap$ + duplicate$ missing$ + { + pop$ pop$ + "" + } + { duplicate$ empty$ + { + swap$ pop$ + } + { swap$ + pop$ + } + if$ + } + if$ +} +FUNCTION {bibinfo.warn} +{ swap$ + duplicate$ missing$ + { + swap$ "missing " swap$ * " in " * cite$ * warning$ pop$ + "" + } + { duplicate$ empty$ + { + swap$ "empty " swap$ * " in " * cite$ * warning$ + } + { swap$ + pop$ + } + if$ + } + if$ +} +INTEGERS { nameptr namesleft numnames } + + +STRINGS { bibinfo} + +FUNCTION {format.names} +{ 'bibinfo := + duplicate$ empty$ 'skip$ { + 's := + "" 't := + #1 'nameptr := + s num.names$ 'numnames := + numnames 'namesleft := + { namesleft #0 > } + { s nameptr + "{vv~}{ll}{, jj}{, f{.}.}" + format.name$ + bibinfo bibinfo.check + 't := + nameptr #1 > + { + namesleft #1 > + { ", " * t * } + { + s nameptr "{ll}" format.name$ duplicate$ "others" = + { 't := } + { pop$ } + if$ + "," * + t "others" = + { + " " * bbl.etal * + } + { " " * t * } + if$ + } + if$ + } + 't + if$ + nameptr #1 + 'nameptr := + namesleft #1 - 'namesleft := + } + while$ + } if$ +} +FUNCTION {format.names.ed} +{ + format.names +} +FUNCTION {format.key} +{ empty$ + { key field.or.null } + { "" } + if$ +} + +FUNCTION {format.authors} +{ author "author" format.names +} +FUNCTION {get.bbl.editor} +{ editor num.names$ #1 > 'bbl.editors 'bbl.editor if$ } + +FUNCTION {format.editors} +{ editor "editor" format.names duplicate$ empty$ 'skip$ + { + " " * + get.bbl.editor + "(" swap$ * ")" * + * + } + if$ +} +FUNCTION {format.note} +{ + url empty$ + 'skip$ + { "\urlprefix\url{" url * "}" * output } + if$ + note empty$ + { "" } + { note #1 #1 substring$ + duplicate$ "{" = + 'skip$ + { output.state mid.sentence = + { "l" } + { "u" } + if$ + change.case$ + } + if$ + note #2 global.max$ substring$ * "note" bibinfo.check + } + if$ +} + +FUNCTION {format.title} +{ title + duplicate$ empty$ 'skip$ + { "t" change.case$ } + if$ + "title" bibinfo.check +} +FUNCTION {format.full.names} +{'s := + "" 't := + #1 'nameptr := + s num.names$ 'numnames := + numnames 'namesleft := + { namesleft #0 > } + { s nameptr + "{vv~}{ll}" format.name$ + 't := + nameptr #1 > + { + namesleft #1 > + { ", " * t * } + { + s nameptr "{ll}" format.name$ duplicate$ "others" = + { 't := } + { pop$ } + if$ + t "others" = + { + " " * bbl.etal * + } + { + numnames #2 > + { "," * } + 'skip$ + if$ + bbl.and + space.word * t * + } + if$ + } + if$ + } + 't + if$ + nameptr #1 + 'nameptr := + namesleft #1 - 'namesleft := + } + while$ +} + +FUNCTION {author.editor.key.full} +{ author empty$ + { editor empty$ + { key empty$ + { cite$ #1 #3 substring$ } + 'key + if$ + } + { editor format.full.names } + if$ + } + { author format.full.names } + if$ +} + +FUNCTION {author.key.full} +{ author empty$ + { key empty$ + { cite$ #1 #3 substring$ } + 'key + if$ + } + { author format.full.names } + if$ +} + +FUNCTION {editor.key.full} +{ editor empty$ + { key empty$ + { cite$ #1 #3 substring$ } + 'key + if$ + } + { editor format.full.names } + if$ +} + +FUNCTION {make.full.names} +{ type$ "book" = + type$ "inbook" = + or + 'author.editor.key.full + { type$ "proceedings" = + 'editor.key.full + 'author.key.full + if$ + } + if$ +} + +FUNCTION {output.bibitem} +{ newline$ + "\bibitem[{" write$ + label write$ + ")" make.full.names duplicate$ short.list = + { pop$ } + { * } + if$ + "}]{" * write$ + cite$ write$ + "}" write$ + newline$ + "" + before.all 'output.state := +} + +FUNCTION {n.dashify} +{ + 't := + "" + { t empty$ not } + { t #1 #1 substring$ "-" = + { t #1 #2 substring$ "--" = not + { "--" * + t #2 global.max$ substring$ 't := + } + { { t #1 #1 substring$ "-" = } + { "-" * + t #2 global.max$ substring$ 't := + } + while$ + } + if$ + } + { t #1 #1 substring$ * + t #2 global.max$ substring$ 't := + } + if$ + } + while$ +} + +FUNCTION {word.in} +{ bbl.in capitalize + ":" * + " " * } + +FUNCTION {format.date} +{ year "year" bibinfo.check duplicate$ empty$ + { + "empty year in " cite$ * "; set to ????" * warning$ + pop$ "????" + } + 'skip$ + if$ + month "month" bibinfo.check duplicate$ empty$ + 'skip$ + { + " " * swap$ + } + if$ + * + remove.dots + extra.label * + before.all 'output.state := + " (" swap$ * ")" * +} +FUNCTION {format.btitle} +{ title "title" bibinfo.check + duplicate$ empty$ 'skip$ + { + } + if$ +} +FUNCTION {either.or.check} +{ empty$ + 'pop$ + { "can't use both " swap$ * " fields in " * cite$ * warning$ } + if$ +} +FUNCTION {format.bvolume} +{ volume empty$ + { "" } + { bbl.volume volume tie.or.space.prefix + "volume" bibinfo.check * * + series "series" bibinfo.check + duplicate$ empty$ 'pop$ + { emphasize ", " * swap$ * } + if$ + "volume and number" number either.or.check + } + if$ +} +FUNCTION {format.number.series} +{ volume empty$ + { number empty$ + { series field.or.null } + { output.state mid.sentence = + { bbl.number } + { bbl.number capitalize } + if$ + number tie.or.space.prefix "number" bibinfo.check * * + series empty$ + { "there's a number but no series in " cite$ * warning$ } + { bbl.in space.word * + series "series" bibinfo.check * + } + if$ + } + if$ + } + { "" } + if$ +} + +FUNCTION {format.edition} +{ edition duplicate$ empty$ 'skip$ + { + output.state mid.sentence = + { "l" } + { "t" } + if$ change.case$ + "edition" bibinfo.check + " " * bbl.edition * + } + if$ +} +INTEGERS { multiresult } +FUNCTION {multi.page.check} +{ 't := + #0 'multiresult := + { multiresult not + t empty$ not + and + } + { t #1 #1 substring$ + duplicate$ "-" = + swap$ duplicate$ "," = + swap$ "+" = + or or + { #1 'multiresult := } + { t #2 global.max$ substring$ 't := } + if$ + } + while$ + multiresult +} +FUNCTION {format.pages} +{ pages duplicate$ empty$ 'skip$ + { duplicate$ multi.page.check + { + bbl.pages swap$ + n.dashify + } + { + bbl.page swap$ + } + if$ + tie.or.space.prefix + "pages" bibinfo.check + * * + } + if$ +} +FUNCTION {format.journal.pages} +{ pages duplicate$ empty$ 'pop$ + { swap$ duplicate$ empty$ + { pop$ pop$ format.pages } + { + ", " * + swap$ + n.dashify + "pages" bibinfo.check + * + } + if$ + } + if$ +} +FUNCTION {format.journal.eid} +{ eid "eid" bibinfo.check + duplicate$ empty$ 'pop$ + { swap$ duplicate$ empty$ 'skip$ + { + ", " * + } + if$ + swap$ * + } + if$ +} +FUNCTION {format.vol.num.pages} +{ volume field.or.null + duplicate$ empty$ 'skip$ + { + "volume" bibinfo.check + } + if$ + number "number" bibinfo.check duplicate$ empty$ 'skip$ + { + swap$ duplicate$ empty$ + { "there's a number but no volume in " cite$ * warning$ } + 'skip$ + if$ + swap$ + "(" swap$ * ")" * + } + if$ * + eid empty$ + { format.journal.pages } + { format.journal.eid } + if$ +} + +FUNCTION {format.chapter.pages} +{ chapter empty$ + 'format.pages + { type empty$ + { bbl.chapter } + { type "l" change.case$ + "type" bibinfo.check + } + if$ + chapter tie.or.space.prefix + "chapter" bibinfo.check + * * + pages empty$ + 'skip$ + { ", " * format.pages * } + if$ + } + if$ +} + +FUNCTION {format.booktitle} +{ + booktitle "booktitle" bibinfo.check +} +FUNCTION {format.in.ed.booktitle} +{ format.booktitle duplicate$ empty$ 'skip$ + { + editor "editor" format.names.ed duplicate$ empty$ 'pop$ + { + " " * + get.bbl.editor + "(" swap$ * ") " * + * swap$ + * } + if$ + word.in swap$ * + } + if$ +} +FUNCTION {format.thesis.type} +{ type duplicate$ empty$ + 'pop$ + { swap$ pop$ + "t" change.case$ "type" bibinfo.check + } + if$ +} +FUNCTION {format.tr.number} +{ number "number" bibinfo.check + type duplicate$ empty$ + { pop$ bbl.techrep } + 'skip$ + if$ + "type" bibinfo.check + swap$ duplicate$ empty$ + { pop$ "t" change.case$ } + { tie.or.space.prefix * * } + if$ +} +FUNCTION {format.article.crossref} +{ + word.in + " \cite{" * crossref * "}" * +} +FUNCTION {format.book.crossref} +{ volume duplicate$ empty$ + { "empty volume in " cite$ * "'s crossref of " * crossref * warning$ + pop$ word.in + } + { bbl.volume + capitalize + swap$ tie.or.space.prefix "volume" bibinfo.check * * bbl.of space.word * + } + if$ + " \cite{" * crossref * "}" * +} +FUNCTION {format.incoll.inproc.crossref} +{ + word.in + " \cite{" * crossref * "}" * +} +FUNCTION {format.org.or.pub} +{ 't := + "" + address empty$ t empty$ and + 'skip$ + { + t empty$ + { address "address" bibinfo.check * + } + { t * + address empty$ + 'skip$ + { ", " * address "address" bibinfo.check * } + if$ + } + if$ + } + if$ +} +FUNCTION {format.publisher.address} +{ publisher "publisher" bibinfo.warn format.org.or.pub +} + +FUNCTION {format.organization.address} +{ organization "organization" bibinfo.check format.org.or.pub +} + +FUNCTION {article} +{ output.bibitem + format.authors "author" output.check + author format.key output + add.colon + new.block + format.title "title" output.check + new.block + crossref missing$ + { + journal + "journal" bibinfo.check + "journal" output.check + add.blank + format.vol.num.pages output + format.date "year" output.check + } + { format.article.crossref output.nonnull + format.pages output + } + if$ + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} +FUNCTION {book} +{ output.bibitem + author empty$ + { format.editors "author and editor" output.check + editor format.key output + add.colon + } + { format.authors output.nonnull + add.colon + crossref missing$ + { "author and editor" editor either.or.check } + 'skip$ + if$ + } + if$ + new.block + format.btitle "title" output.check + crossref missing$ + { format.bvolume output + new.block + new.sentence + format.number.series output + format.publisher.address output + } + { + new.block + format.book.crossref output.nonnull + } + if$ + format.edition output + format.date "year" output.check + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} +FUNCTION {booklet} +{ output.bibitem + format.authors output + author format.key output + add.colon + new.block + format.title "title" output.check + new.block + howpublished "howpublished" bibinfo.check output + address "address" bibinfo.check output + format.date "year" output.check + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} + +FUNCTION {inbook} +{ output.bibitem + author empty$ + { format.editors "author and editor" output.check + editor format.key output + add.colon + } + { format.authors output.nonnull + add.colon + crossref missing$ + { "author and editor" editor either.or.check } + 'skip$ + if$ + } + if$ + new.block + format.btitle "title" output.check + crossref missing$ + { + format.bvolume output + format.chapter.pages "chapter and pages" output.check + new.block + new.sentence + format.number.series output + format.publisher.address output + } + { + format.chapter.pages "chapter and pages" output.check + new.block + format.book.crossref output.nonnull + } + if$ + format.edition output + format.date "year" output.check + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} + +FUNCTION {incollection} +{ output.bibitem + format.authors "author" output.check + author format.key output + add.colon + new.block + format.title "title" output.check + new.block + crossref missing$ + { format.in.ed.booktitle "booktitle" output.check + format.bvolume output + format.chapter.pages output + new.sentence + format.number.series output + format.publisher.address output + format.edition output + format.date "year" output.check + } + { format.incoll.inproc.crossref output.nonnull + format.chapter.pages output + } + if$ + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} +FUNCTION {inproceedings} +{ output.bibitem + format.authors "author" output.check + author format.key output + add.colon + new.block + format.title "title" output.check + new.block + crossref missing$ + { format.in.ed.booktitle "booktitle" output.check + new.sentence % ++++ ADDED (to get period b/w booktitle and series) + format.bvolume output + format.pages output + new.sentence + format.number.series output + publisher empty$ + { format.organization.address output } + { organization "organization" bibinfo.check output + format.publisher.address output + } + if$ + format.date "year" output.check + } + { format.incoll.inproc.crossref output.nonnull + format.pages output + } + if$ + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} +FUNCTION {conference} { inproceedings } +FUNCTION {manual} +{ output.bibitem + format.authors output + author format.key output + add.colon + new.block + format.btitle "title" output.check + organization address new.block.checkb + organization "organization" bibinfo.check output + address "address" bibinfo.check output + format.edition output + format.date "year" output.check + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} + +FUNCTION {mastersthesis} +{ output.bibitem + format.authors "author" output.check + author format.key output + add.colon + new.block + format.btitle + "title" output.check + new.block + bbl.mthesis format.thesis.type output.nonnull + school "school" bibinfo.warn output + address "address" bibinfo.check output + format.date "year" output.check + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} + +FUNCTION {misc} +{ output.bibitem + format.authors output + author format.key output + add.colon + new.block + format.title output + new.block + howpublished "howpublished" bibinfo.check output + format.date "year" output.check + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} +FUNCTION {phdthesis} +{ output.bibitem + format.authors "author" output.check + author format.key output + add.colon + new.block + format.btitle + "title" output.check + new.block + bbl.phdthesis format.thesis.type output.nonnull + school "school" bibinfo.warn output + address "address" bibinfo.check output + format.date "year" output.check + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} + +FUNCTION {proceedings} +{ output.bibitem + format.editors output + editor format.key output + add.colon + new.block + format.btitle "title" output.check + format.bvolume output + new.sentence + format.number.series output + publisher empty$ + { format.organization.address output } + { organization "organization" bibinfo.check output + format.publisher.address output + } + if$ + format.date "year" output.check + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} + +FUNCTION {techreport} +{ output.bibitem + format.authors "author" output.check + author format.key output + add.colon + new.block + format.title + "title" output.check + new.block + format.tr.number output.nonnull + institution "institution" bibinfo.warn output + address "address" bibinfo.check output + format.date "year" output.check + % new.block ++++ REMOVED (to get comma before note) + format.note output + fin.entry +} + +FUNCTION {unpublished} +{ output.bibitem + format.authors "author" output.check + author format.key output + add.colon + new.block + format.title "title" output.check + format.date "year" output.check + % new.block ++++ REMOVED (to get comma before note) + format.note "note" output.check + fin.entry +} + +FUNCTION {default.type} { misc } +READ +FUNCTION {sortify} +{ purify$ + "l" change.case$ +} +INTEGERS { len } +FUNCTION {chop.word} +{ 's := + 'len := + s #1 len substring$ = + { s len #1 + global.max$ substring$ } + 's + if$ +} +FUNCTION {format.lab.names} +{ 's := + "" 't := + s #1 "{vv~}{ll}" format.name$ + s num.names$ duplicate$ + #2 > + { pop$ + " " * bbl.etal * + } + { #2 < + 'skip$ + { s #2 "{ff }{vv }{ll}{ jj}" format.name$ "others" = + { + " " * bbl.etal * + } + { bbl.and space.word * s #2 "{vv~}{ll}" format.name$ + * } + if$ + } + if$ + } + if$ +} + +FUNCTION {author.key.label} +{ author empty$ + { key empty$ + { cite$ #1 #3 substring$ } + 'key + if$ + } + { author format.lab.names } + if$ +} + +FUNCTION {author.editor.key.label} +{ author empty$ + { editor empty$ + { key empty$ + { cite$ #1 #3 substring$ } + 'key + if$ + } + { editor format.lab.names } + if$ + } + { author format.lab.names } + if$ +} + +FUNCTION {editor.key.label} +{ editor empty$ + { key empty$ + { cite$ #1 #3 substring$ } + 'key + if$ + } + { editor format.lab.names } + if$ +} + +FUNCTION {calc.short.authors} +{ type$ "book" = + type$ "inbook" = + or + 'author.editor.key.label + { type$ "proceedings" = + 'editor.key.label + 'author.key.label + if$ + } + if$ + 'short.list := +} + +FUNCTION {calc.label} +{ calc.short.authors + short.list + "(" + * + year duplicate$ empty$ + { pop$ "????" } + 'skip$ + if$ + * + 'label := +} + +FUNCTION {sort.format.names} +{ 's := + #1 'nameptr := + "" + s num.names$ 'numnames := + numnames 'namesleft := + { namesleft #0 > } + { s nameptr + "{ll{ }}{ ff{ }}{ jj{ }}" + format.name$ 't := + nameptr #1 > + { + " " * + namesleft #1 = t "others" = and + { "zzzzz" * } + { t sortify * } + if$ + } + { t sortify * } + if$ + nameptr #1 + 'nameptr := + namesleft #1 - 'namesleft := + } + while$ +} + +FUNCTION {sort.format.title} +{ 't := + "A " #2 + "An " #3 + "The " #4 t chop.word + chop.word + chop.word + sortify + #1 global.max$ substring$ +} +FUNCTION {author.sort} +{ author empty$ + { key empty$ + { "to sort, need author or key in " cite$ * warning$ + "" + } + { key sortify } + if$ + } + { author sort.format.names } + if$ +} +FUNCTION {author.editor.sort} +{ author empty$ + { editor empty$ + { key empty$ + { "to sort, need author, editor, or key in " cite$ * warning$ + "" + } + { key sortify } + if$ + } + { editor sort.format.names } + if$ + } + { author sort.format.names } + if$ +} +FUNCTION {editor.sort} +{ editor empty$ + { key empty$ + { "to sort, need editor or key in " cite$ * warning$ + "" + } + { key sortify } + if$ + } + { editor sort.format.names } + if$ +} +FUNCTION {presort} +{ calc.label + label sortify + " " + * + type$ "book" = + type$ "inbook" = + or + 'author.editor.sort + { type$ "proceedings" = + 'editor.sort + 'author.sort + if$ + } + if$ + #1 entry.max$ substring$ + 'sort.label := + sort.label + * + " " + * + title field.or.null + sort.format.title + * + #1 entry.max$ substring$ + 'sort.key$ := +} + +ITERATE {presort} +%%%SORT +STRINGS { last.label next.extra } +INTEGERS { last.extra.num number.label } +FUNCTION {initialize.extra.label.stuff} +{ #0 int.to.chr$ 'last.label := + "" 'next.extra := + #0 'last.extra.num := + #0 'number.label := +} +FUNCTION {forward.pass} +{ last.label label = + { last.extra.num #1 + 'last.extra.num := + last.extra.num int.to.chr$ 'extra.label := + } + { "a" chr.to.int$ 'last.extra.num := + "" 'extra.label := + label 'last.label := + } + if$ + number.label #1 + 'number.label := +} +FUNCTION {reverse.pass} +{ next.extra "b" = + { "a" 'extra.label := } + 'skip$ + if$ + extra.label 'next.extra := + extra.label + duplicate$ empty$ + 'skip$ + { "{\natexlab{" swap$ * "}}" * } + if$ + 'extra.label := + label extra.label * 'label := +} +EXECUTE {initialize.extra.label.stuff} +ITERATE {forward.pass} +REVERSE {reverse.pass} +FUNCTION {bib.sort.order} +{ sort.label + " " + * + year field.or.null sortify + * + " " + * + title field.or.null + sort.format.title + * + #1 entry.max$ substring$ + 'sort.key$ := +} +%%%ITERATE {bib.sort.order} +%%%SORT +FUNCTION {begin.bib} +{ preamble$ empty$ + 'skip$ + { preamble$ write$ newline$ } + if$ + "\begin{thebibliography}{" number.label int.to.str$ * "}" * + write$ newline$ + "\providecommand{\natexlab}[1]{#1}" + write$ newline$ + "\providecommand{\url}[1]{\texttt{#1}}" + write$ newline$ +% "\providecommand{\urlprefix}{URL }" ++++ EMPTIED by default + "\providecommand{\urlprefix}{}" + write$ newline$ +} +EXECUTE {begin.bib} +EXECUTE {init.state.consts} +ITERATE {call.type$} +FUNCTION {end.bib} +{ newline$ + "\end{thebibliography}" write$ newline$ +} +EXECUTE {end.bib} +%% End of customized bst file +%% +%% End of file `splncsnat.bst'.