Signal Analysis Software for Teaching Discourse Intonation .


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Dorothy M. Chun University of California,
Santa Barbara

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Signal Analysis Software for Teaching Discourse Intonation .

  1. 1. Signal Analysis Software for Teaching Discourse Intonation Dorothy M. Chun University of California, Santa Barbara
  2. 2. Goals: (1) to review previous research on the acquisition of suprasegmentals by L2 learners and the potential of computer-based instructional materials to aid in improving intonation, (2) to briefly describe some of the software previously available, and (3) to suggest criteria for the conceptualization and design of multimedia software for the teaching of discourse-based phonology ,pitch and intonational patterns as other prosodic components such as stress and rhythm.
  3. 3. <ul><li>Introduction </li></ul><ul><li>Intonation, stress and general “melody” of speech are said to be among the first aspects of speech that human infants attend to, react to, and produce themselves (Lieberman, 1986). It has also been shown that child L2 learners have little difficulty in acquiring native-like pronunciation and intonation in the L2 (Felix, 1978). Intonation thus is an important aspect of language that seems to be easily, if not automatically, acquired by children in both L1 and L2, easy for adults to maintain and retain in L1, yet difficult for adults to learn in L2. Due to its inherent complexity and to the ensuing difficulty in learning and mastering it, intonation was ignored for many years in language teaching. </li></ul>
  4. 4. <ul><li>#The traditional theoretical linguistic basis for the learning and teaching of pronunciation was </li></ul><ul><li>a focus on the segmentals , i.e., the articulatory phonetics of individual sounds. Intonation theoretically or acoustically and was considered a “luxury” in terms of teaching. </li></ul><ul><li>#Various types of training in L2 pronunciation studied, including perceptual, articulatory, or some combination of both. studies dealing with suprasegmentals in conjunction with speech technology systems or programs will besummarized here, with varied results. </li></ul><ul><li># In perceptual or discrimination experiments, Feldman (1973, 1977) first used electronic synthesis to simplify several prosodic features that were presented to hearers for discrimination. </li></ul>Theoretical background
  5. 5. <ul><li>‘ t Hart and Collier (1975) provide Dutch learners with necessary relevant information about English intonation so that they could learn correct intonation. </li></ul><ul><li>They found that “four aspects of pitch change are perceptually relevant: </li></ul><ul><li>(1)direction of pitch change (rise, fall, or level), </li></ul><ul><li>(2) range of pitch change (difference between high and low </li></ul><ul><li>levels), </li></ul><ul><li>(3) speed of pitch change (how abruptly or gradually the change happens) and </li></ul><ul><li>(4) place of pitch change (in sentence, word, or syllable).” These four relevant aspects of intonation were then explained and demonstrated in a 12-minute tape, using single tones and speech samples generated by a computer. The different pitch changes were also presented on a screen. Though the tape was only concerned with the perception of intonation, it caused a significant improvement in the production of intonation. </li></ul>
  6. 6. <ul><li>#Lane and Schneider (1963) found that discrimination training alone did not bring about better production of Thai lexical tones by non-native learners. One reason for the divergence of the results may be that there is no simple and symmetrical relation between a learner’s perceptual ability and her/his productive skill and that these abilities may not progress in parallel. </li></ul><ul><li># Several studies report positive effects of the use of visual displays of intonation among language learners (de Bot and Mailfert, 1982; de Bot, 1983; Hengestenberg, 1980; James, 1976,1977 and 1979; Lane and Buiten, 1966; Leon and Martin, 1972), </li></ul><ul><li>other studies found no such effects (Vardanian, 1964; Wichern and Boves, 1980). </li></ul>
  7. 7. <ul><li>#De Bot and Mailfert (1982) </li></ul><ul><li>found that a 45-minute training session in the perception of intonation did result in a statistically significant improvement in the production of English intonation patterns by both Dutch and French students in pre- and post-tests. Subsequent studies using visual and audio-visual feedback with further corroborated the 1982 findings: </li></ul><ul><li># De Bot (1983) </li></ul><ul><li>showed that audio-visual feedback is more effective in intonation learning than auditory feedback, and Weltens and </li></ul><ul><li># De Bot (1984) </li></ul><ul><li>showed that “feedback delay is not a critical </li></ul><ul><li>factor when using a pitch visualizer for intonation teaching, but that the nature of the speech material [voiceless vs. voiced consonants, neutral vs. contrastive intonation] ... does </li></ul><ul><li>dramatically affect the quality of the visual feedback” (p. 79). </li></ul>
  8. 8. <ul><li>Computers have been utilized for providing learners with visualizations of their intonational patterns since 70s,since the mid-1980s, hardware and software for computers, particularly microcomputers, have become increasingly more accessible, in the form of sound and speech digitizers, pitch trackers to produce displays of ntonation curves, and computer-assisted language learning (CALL) software, including pronunciation tutors with audio and graphic components. </li></ul><ul><li>### Visi-Pitch </li></ul><ul><li>With Visi-Pitch students are able to see both a native speaker’s pitch curve and their own simultaneously. </li></ul>
  9. 9. <ul><li>Fischer (1986a and 1986b) reports on the use of Visi-Pitch for teaching Chinese tones and French intonation , respectively, </li></ul><ul><li>Molholt (1988) used both the Visi-Pitch and a Speech Spectrographic Display for improving both the segmental as well as the suprasegmental phonology of Chinese speakers of English (see Figures 1 and 2 below). </li></ul><ul><li>Students first speak a sentence into a microphone; </li></ul><ul><li>their utterance is then digitized and pitch-tracked, and </li></ul><ul><li>they can see a display of their pitch curve directly under a native speaker’s pitch curve of the same sentence. </li></ul>
  10. 10. Figure 1. Chinese Tone 1 The top half shows the pitch curves of a native Chinese speaker pronouncing three words that should have called Tone 1 ( high level pitch ), as represented by the relatively straight lines. The bottom half shows the pitch curves produced by a learner, exhibiting erroneously falling pitch contours .
  11. 11. <ul><li>Figure 2. French sentence Qu’est-ce qu’il fait? </li></ul>The top half shows the pitch contours of the French question Qu’est-ce qu’il fait? “What is he doing?” as spoken by a native speaker. The bottom half shows how an American learner produced the same question with very English-like intonation contours, i.e., pitch peaks on the stressed syllables rather than continuously falling sentence intonation.
  12. 12. <ul><li>Spaai and Hermes (1993) devised a visual intonation-display system called “Intonation Meter” that presents visual feedback of the intonation as a continuous representation of the pitch contour and contains only the </li></ul><ul><li>perceptually relevant aspects of the intonation pattern. It also marks vowel onsets in Dutch,i.e. the points at which pitch movement is perceived (see Figures 3 and 4 below). </li></ul>
  13. 13. The Intonation Meter displays pitch contours produced by the foreign language teacher on the upper part of a computer screen, and the student’s attempted imitation is shown on the lower part of the screen, both in stylized form, i.e., with a continuous (interpolated) pitch “curve” which eliminates the irrelevant pitch variations. Figure 3. “Unprocessed” fundamental frequency (pitch) measurements Figure 4. Unprocessed pitch contour (dots) and stylized pitch contour (straight line) “ Intonation Meter”
  14. 14. <ul><li>Signalyze (1988), </li></ul><ul><li>produce and store intonation curves of native speakers and learners, as to display them next to each other (cf. Chun, 1991 and Figure 5 below). </li></ul>
  15. 15. <ul><li>The purported benefits are that students would get immediate visual and audio feedback of the elusive dimension of pitch.4 It can only be hoped that a pedagogical application of this software for language learning will be developed, based on the principles discussed above for interpreting visual feedback and facilitating L2 intonation learning. </li></ul>