東勢客家話的聲調不僅調查文獻數量不多，且均屬傳統方言學的調查研究。傳統方言學調查研究的優點在於可迅速瞭解當地方言的聲調系統，其缺點在於參與發音的人數少，語音記錄相當主觀。有鑑於此，本研究針對東勢客家話的單字調的基頻長度（調長）、基頻輪廓（調形與調值）、基頻均值、基頻斜率等聲學參數進行分析，並將研究結果與傳統調查相互比較，藉以瞭解傳統調查的正確性。本研究的發音人共計10名（男女各半）。他們透過發音字表，以固定速率唸讀東勢客家話的 個單字調，每個調含6個例字，每個例字唸6次，截頭去尾切取中間5次進行分析，故總共有1080個語音樣本。本研究首先利用PRAAT對語音樣本進行基頻長度的測量、之後在各聲調的基頻曲線上平均取 點並進行各點基頻標準化工作，最後將各點標準化後的聲調調值平均及標準差繪製成聲調格局圖。本研究同時也利用各點的聲調調值平均來計算各聲調的基頻均值、基頻斜率等聲調感知的重要參數，藉以瞭解東勢客家話裡各個聲調彼此之間的區別。本研究對於東勢客家話的調值分析結果如下：陰平［33］、陽平［23］、上聲［41］、去聲［52］、陰入［42］、陽入［54］。本研究有以下的結果：（一）就調長而言，舒聲調長於入聲調，這與傳統調查一致。但本研究將東勢客家話的陽平分析為［23］，陽平並未比其他舒聲調長，這與傳統調查將陽平記為超長調［113］或［224］並不相同。（二）東勢客家話的聲調全都可以透過基頻長度、基頻均值或基頻斜率裡的兩個或三個特徵來彼此區分。

Most studies of the tones in Dongshi Hakka belong to the fieldwork surveys of traditional dialectology. The limitation of these studies lies in the few informants and the subjective phonetic transcription by researchers. In view of these weaknesses, this study acoustically explored the fundamental frequencies (F_0) of tones and F_0-realted cues, including F_0 duration, F_0 contour, F_0 mean and F_0 slope of the tones in Dongshi Hakka, and compared the results of this study with those of traditional fieldwork investigations. Ten informants took part in this study, with five males and five females. Informants were required to read a word list with six words for all lexical tones in Dongshi Hakka. Every word was successively read five times, the middle three of which were taken out for analysis, so the total number of sound samples was 1080. The study adopted PRAAT to measure F_0 values and F_0 durations. The F_0 values were then normalized into five-point tonal values. Then, the means and standard deviations of the normalized tonal values of all lexical tones were used to draw the tonal pattern of Dongshi Hakka. The results were stated as follows: Yinping[33], Yangping[23], Shangsheng[41], Qusheng[52], Yinru[42], and Yangru[54]. In terms of F_0 durations, this study was like traditional fieldwork surveys, for non-checked tones were longer than checked tones. Yet, unlike the transcription of traditional fieldwork investigations, this study transcribed the Yangping tone in Dongshi Hakka as [23] rather than [113] or [224], displaying that the Yangping tone was not longer than other non-checked tones. As for tonal distinction, the six tones in Dongshi Hakka can be differentiated by two or three acoustic-perceptual cues of tones, including F_0 mean, F_0 duration, and F_0 slople.