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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 1
Acoustic Phonetics
Lesson 13
M. Grazia Busà - 2018 Stress & Intonation
Stress
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 2
STRESS
• In linguistics, stress is the relative emphasis
that may be given to certain syllables in a
word.
• The term is also used to indicate phonetic
prominence inside syllables.
M. Grazia Busà - 2018 Stress &
Intonation
Prominence:
A syllable might be more prominent
by differing from the surrounding
syllables in terms of:
–loudness
–pitch
–length
Prominence is relative to the
surrounding syllables, not absolute
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 3
The realization of stress is language
dependent.
TYPES OF STRESS:
M. Grazia Busà - 2018 Stress &
Intonation
Pitch accent languages
• Stressed syllables have a higher or
lower pitch than non-stressed
syllables
• Prominence is realized only by means
of pitch
–Tone contours on the prominent syllables
are always the same
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M. Grazia Busà - 2018 Stress &
Intonation
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Stress languages
• Stressed syllables have a higher or
lower pitch than non-stressed
syllables (pitch excursion)
• There may be varying degrees of high
vs. low pitch
• Loudness, vowel quality and/or quantity
may also contribute to stress
M. Grazia Busà - 2018 Stress &
Intonation
• Stressed syllables are often perceived as
being more forceful than non-stressed
syllables.
• Research has shown, however, that
although dynamic stress is accompanied by
greater respiratory force, it does not mean a
more forceful articulation in the vocal tract.
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 6
Prominence in English
M. Grazia Busà - 2018 Stress &
Intonation
meta metà
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Intonation
Stress in Italian
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Stress in English
• an essential feature of word identity in
English
–Strong contrast between stressed and
unstressed syllables
• polysyllabic words have a primary stress,
secondary, and tertiary stress or have weak
syllables (with reduced vowels)
M. Grazia Busà - 2018 Stress &
Intonation
• In English, stress is most dramatically
realized on focussed or accented words. E.g.
–"Is it brunch tomorrow?"
–"No, it’s dinner tomorrow.”
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 8
Information and Stress in English
• Words that carry higher information content in
the utterance are given higher stress
– One word is generally stressed more than any
other
• 'content' words, as opposed to 'function' words,
generally carry stress.
• Content words: nouns, verbs, adjectives,
adverbs
• Function words: articles, prepositions,
conjunctions, and modal auxiliaries.
M. Grazia Busà - 2018 Stress &
Intonation
Stress and prominence in Italian
and English
• Italian stress:
– Pitch loudness and intensity
• English stress:
– Pitch loudness and intensity
– Full vs. reduced vowels (leading to complex
consonant clusters)
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 9
What is the difference between
stress and intonation?
M. Grazia Busà - 2018 Stress &
Intonation
Stress:
– Involves variations in pitch, loudness and duration
– Domain of application is the word
– Makes one syllable in the word stand out from the
rest of the word.
Intonation:
– Involves variations in pitch, loudness and duration
– Domain of application is the phrase or the
utterance
– Gives certain syllables prominence over the
others.
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 10
i TOLD you to go
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Intonation
i told YOU to go
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 11
Tonic Stress (1)
• The peak of stress in an intonation unit is
called 'tonic stress', or 'nucleus'.
–the syllable that receives the tonic stress is
called 'tonic syllable'.
M. Grazia Busà - 2018 Stress &
Intonation
Tonic Stress (2)
• In a sequence of stressed syllables, these get
stressed, but not as much as the tonic
syllable, producing different degrees of stress
in the utterance.
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 12
Nuclear syllable and new information
• The nuclear syllable carries:
– the main focus of information
– any new information.
• Compare:
– We looked at the hatchback.
– The hatchback was old.
new information
new information
old information
M. Grazia Busà - 2018 Stress &
Intonation
Emphatic Stress
• The tonic stress can be moved from its
utterance final position for emphasis.
Ex.:
– It was very BOring. (unmarked)
It was VEry boring. (emphatic)
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 13
Contrastive Stress
• Any lexical item can receive the tonic
stress if it contrasts with some other
lexical element in the utterance (even
function words)
• Examples:
– Do you like this one or THAT one?
I like THIS one.
– She played the piano yesterday. (It was her who...)
– She played the piano yesterday. (Not the violin). It was
the piano that...)
M. Grazia Busà - 2018 Stress & Intonation
Intonation
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 14
Meaning and intonation
• Language conveys meaning non only
through words
• Emotions, emphasis, irony, contextual
relevance, etc. can be conveyed through
modulations of the tone of voice (what we
hear as the voice going up and down)
M. Grazia Busà - 2018 Stress &
Intonation
Meaning and intonation
• These modulations are commonly referred
to intonation patterns.
– Intonation is only poorly represented in the
written language (through full stops, commas,
question marks, exclamation marks).
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 15
Meanings in intonation
M. Grazia Busà - 2018 Stress &
Intonation
Intonation and Discourse
• Information status
– Given/new information
• S: Do you need a return ticket.
• U: No, thanks, I don’t need a return.
– Contrast (narrow focus)
• U: No, thanks, I don’t need a RETURN…. (I need a time
schedule, receipt,…)
– Emphasis
• U: No, thanks, I don’t NEED a return…. (I need a time
schedule, receipt,…)
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 16
• Speech acts (statements, questions, requests)
That’ll be credit card
Can you open that window?
• Discourse/topic structure
I’m afraid we don’t have time to finish the
experiment today.
The man I saw at the train station was my uncle
Intonation and Discourse (2)
M. Grazia Busà - 2018 Stress &
Intonation
‘Paralinguistic’ Information
• Emotion (anger, happiness, love)
• Propositional attitude (uncertainty)
Did you feed the animals?
I fed the goldfish (Rise/Fall/Rise)
• Level of speaker engagement
Really
REALLY
• Personality
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 17
Prosodic Disambiguation of Syntactic
and Semantic Ambiguity
• Bill doesn’t drink because he’s unhappy.
• The presence of none of the professors will
embarrass her.
• He only wounded Anne.
• He managed to find the woman with the
binoculars.
M. Grazia Busà - 2018 Stress &
Intonation
Language specific strategies for
meaning beyond the word
• All languages express meaning through
intonation
• However, in some languages, grammar
may allow variations in word order, with
differences in meaning depending on
intonation.
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 18
Language specific strategies for
meaning beyond the word
In the Romance languages and in Italian,
changes in word order may signal changes
in meaning:
Ex.: Piero viene ~ Viene Piero
M. Grazia Busà - 2018 Stress &
Intonation
Meaning through intonation in
English
• English has a fairly strictly fixed word order
• Words cannot be freely re-arranged to make a
point about something.
• Intonation in English provides the means to
convey a range of meanings, emotions or
situations, within the confines of standard
grammar and fixed word order.
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 19
How is intonation studied?
M. Grazia Busà - 2018 Stress &
Intonation
• The modulations in the tone of voice (or
pitch) in speech (what we hear as the voice
going up and down) are referred to pitch
patterns or intonation patterns.
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 20
M. Grazia Busà - 2018 Stress &
Intonation
Example: rising and falling contours Pitch
• Pitch refers to the movements of the tone of
voice
– From a physiological point of view, pitch depends
on the rate of vibration and/or alteration of the
tension of the vocal cords.
• When the vocal cords are stretched, the pitch of the
voice increases.
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 21
F0 and Pitch
F0 (fundamental
frequency)
• Indicates the
number of glottal
vibrations in a
second
Pitch (tone height)
• Perceptual correlate
of F0
M. Grazia Busà - 2018 Stress &
Intonation
Pitch in the spectrogram
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 22
Variations in Pitch
• pitch can vary from high to low (pitch levels/
range).
• higher pitch is heard louder than lower pitch.
• stressed syllables tend to have higher pitch
M. Grazia Busà - 2018 Stress &
Intonation
F0
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 23
The tone group
• By tone group we mean the stretch of
speech on which intonation applies.
• Tone groups can contain only one word or
as many as seven or eight.
Ex.:
/no / I really can't put up with it / good-bye/
M. Grazia Busà - 2018 Stress &
Intonation
Ex.: Tone groups
M. Grazia Busà - 2018 Stress &
Intonation
OK Bye!
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 24
Tone units
• The division of a sentence into tone groups can
affect the meaning in some cases.
M. Grazia Busà - 2018 Stress &
Intonation
il maestro disse l’ispettore è un asino
il maestro disse l’ispettore è un asino
//
il maestro disse l’ispettore
// è un asino
//
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 25
– Do you take sugar?
– / I don't / no / / I don't no/
Meaning: I don't, no. Meaning: I don't
know.
– / The prince said / the princess had been unfaithful./
Meaning: The prince said (that) the princess had
been unfaithful.
– / The prince / said the princess / had been unfaithful./
Meaning: "The prince," said the princess, "had been
unfaithful."
M. Grazia Busà - 2018 Stress &
Intonation
http://english.unitecnology.ac.nz/resources/resources/exp_lang/how.html
About intonation models
• Intonation is not a simple subject
• Many different theories present differing
viewpoints and terminology on intonation
• Studying intonation is complicated by:
– Individual variation
– Variations due to speakers’ intentions and
paralinguistic information
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 26
Tone sequence models
• General assumption: intonation is generated
from sequences of (possibly) categorically
different and phonologically distinctive
accents (tonic syllable)
M. Grazia Busà - 2018 Stress &
Intonation
Intonation models
• Two types of models within the group of
tone sequence models:
Type 1: Intonation made up of sequences of
pitch movements
Type 2: Intonation made up of sequences of
pitch levels or targets
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 27
Two types of tone-sequence model
t a r g
e t
H
L
t a r g
e t
Type 1: based on pitch movements
Type 2: based on pitch levels
The American School
The British School
The Dutch School
M. Grazia Busà - 2018 Stress &
Intonation
The British School
• Based on auditory analysis
• Tone sequence model and pitch movement
analysis (e.g. falling vs. rising intonation)
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 28
Concepts in the British School
• Basic unit of intonational description:
intonation phrase (tone unit)
– Delimited by pauses, phrase-final lengthening,
pitch movement
• Syllables within a tone unit can be stressed
or accented
• Accented syllables are stressed and pitch
prominent
M. Grazia Busà - 2018 Stress &
Intonation
Accent
Stressed syllable has full vowel and is
perceived as involving a rhythmic beat
Pitch prominence
– syllable produced with moving pitch or pitch
change
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 29
Example
M. Grazia Busà - 2018 Stress & Intonation
Intonation Phrase Structure
• Intonational phrases have an internal
structure
– Structure determined by location of accents in
an IP
– Each accent defines the beginning of a
prosodic constituent
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 30
Intonation phrase (IP) structure
• Two types of accent unit in the British
School:
– Prenuclear accent units; also called the Head
– Nuclear accent units; also called the Nucleus
• The nuclear accent unit is the last accent
unit in the IP
• The head comprises all prenuclear accent
units
M. Grazia Busà - 2018 Stress &
Intonation
Intonation phrase structure
JOHN’s never BEEN to Jamaica
Prenuclear accent unit Nuclear accent unit
But
Prehead
Stressed syllable
‘Head’ ‘Nucleus’
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 31
Six nuclear choices in English
Ja m a ic
falling
a
ic
rising
Ja m a
a
a c
rising-falling
i
Ja m a
falling-rising
Ja m a i
c
a
Rising-falling-rising
a c
i
Ja m a
a
level
Ja m a ic a
M. Grazia Busà - 2018 Stress &
Intonation
Prosodic constituents
M. Grazia Busà - 2018 Stress &
Intonation
Each constituent consists of stressed
(strong) and unstressed (weak) syllables.
It was the best car for them to buy.
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 32
The Head
§ The constituent that extends from the first
stressed syllable up to (but not including) the
next tonic syllable is called the head:
– John’s never been to Jamaica
M. Grazia Busà - 2018 Stress &
Intonation
The Nuclear Syllable
• Within the tone group, one syllable will be
even more strongly stressed than the other
stressed syllables. This is called the
nuclear syllable.
– It was the best car for them to buy.
Nuclear
syllable
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 33
Criticism
• How are accents, prominence defined?
Related to segments? Too many
options….
• Are prenuclear accents qualitatively
different from nuclear accents? What is the
evidence?
• Does each pitch accent begin a new
‘prosodic unit’ in the phrase? What is the
evidence? M. Grazia Busà - 2018 Stress & Intonation
The American School
• Based on instrumental + auditory analysis
• Analysis based on sequences of H and L
levels
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 34
Differences between the US and the
British approach
M. Grazia Busà - 2018 Stress &
Intonation
The American School
and ToBI
The following slides are taken from Julia Hirschberg
www.cs.columbia.edu/~julia/cs4706/tobi.ppt
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 35
The American School
• American school-type models make a
distinction between accents (what makes a
particular word prominent) and boundary
tones (how a phrase ends)
• Autosegmental metrical or two-tone models
• Only two tones, which may be combined
– H = high target
– L = low target M. Grazia Busà - 2018 Stress &
Intonation
Prominence and boundaries
• Prominence: accents, stress
– John only introduced MARY to Sue
– John only introduced Mary to SUE
• Boundaries: disjuncture between words
– Bill doesn’t drink | because he’s unhappy
– Bill doesn’t drink because he’s unhappy
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 36
M. Grazia Busà - 2018 Stress &
Intonation
ToBI Goal
• Capture enough variation to explain
similarities and differences in prosodic
meaning
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 37
ToBI Scheme
• ToBI annotation tiers:
– Orthographic tier: Time-aligned words
– Break-index tier: degrees of junction (0-4)
Tonal tier: pitch accents, phrase accents,
boundary tones
– Miscellaneous tier: disfluencies, non-speech
sounds, etc.
M. Grazia Busà - 2018 Stress &
Intonation
Pitch accents: Intonational Prominence
• Achieved through
– Different tone targets
– Differences in f0 height
– Being louder and longer
• Hierarchy
– Last accented word tends to be most prominent
– Most prominent accent in intermediate phrase
is called phrase’s nuclear accent or nuclear
stress M. Grazia Busà - 2018 Stress &
Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 38
Break Indices Differences
• Associated with
– Variation in f0
– Phrase final lengthening
– Glottalization
– Some amount of pause
M. Grazia Busà - 2018 Stress &
Intonation
Degrees of junction (Break indexes)
Level 0: word boundary apparently erased
Level 1: typical between-word disjuncture
within a phrase
Level 2: Strong juncture with no tonal
boundaries
Level 3: minor or intermediate phraseLevel
Level 4: end of an intonational phrase
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 39
Accents
(Ladefoged, 2006: 125).
M. Grazia Busà - 2018 Stress &
Intonation
Phrase Ending Types
L-L% L-H% H-H% H-L% !H-L%
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 40
M. Grazia Busà - 2018 Stress &
Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 41
M. Grazia Busà - 2018 Stress &
Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 42
M. Grazia Busà - 2018 Stress &
Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 43
An interesting course
• https://ocw.mit.edu/courses/electrical-
engineering-and-computer-science/6-911-
transcribing-prosodic-structure-of-spoken-
utterances-with-tobi-january-iap-2006/lecture-
notes/chapter2_6/
M. Grazia Busà - 2018 Stress &
Intonation
Now you try!
M. Grazia Busà - 2018 Stress &
Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 44
Goodbye!
M. Grazia Busà - 2018 Stress &
Intonation
Goodbye!
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 45
(that was) boring!
M. Grazia Busà - 2018 Stress &
Intonation
(…) very soon
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 46
Laboratory models
a number of laboratory techniques are used in
the study of suprasegmentals
M. Grazia Busà - 2018 Stress &
Intonation
Manual Annotation:
• accuracy of the human annotator
• time-consuming and error-prone
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Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 47
Automatic Annotation:
• automatic "phoneme alignment" between a
phonological transcription and the recorded
signal
• locates segments, syllables and phrases
– allows for large-scale analysis
– basis for much experimental phonetics
research and technological applications such as
speech recognition and speech synthesis.
M. Grazia Busà - 2018 Stress &
Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 48
Pitch track :
• a "pitch track” o fundamental frequency
contour can be extracted from a
recorded speech signal
–shows how the pitch of the voice changes
through an utterance: e.g.,
• changes in fundamental frequency associated
with pitch accents;
• range of Fx used by the speaker;
• voiced and voiceless regions
M. Grazia Busà - 2018 Stress & Intonation
Stylised pitch:
• To extract parameters from the pitch
track it is common practice to first
model the shape of the contour. A
common strategy is to sylise the
changes in pitch with a sequence of
simple shapes, e.g. straight lines
M. Grazia Busà - 2018 Stress &
Intonation
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M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 49
https://www.phon.ucl.ac.uk/courses/plin0065/week8.php
M. Grazia Busà - 2018 Stress &
Intonation

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Less. 14 Stress intonation 2018-19.ppt (1).pdf

  • 1. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 1 Acoustic Phonetics Lesson 13 M. Grazia Busà - 2018 Stress & Intonation Stress M. Grazia Busà - 2018 Stress & Intonation
  • 2. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 2 STRESS • In linguistics, stress is the relative emphasis that may be given to certain syllables in a word. • The term is also used to indicate phonetic prominence inside syllables. M. Grazia Busà - 2018 Stress & Intonation Prominence: A syllable might be more prominent by differing from the surrounding syllables in terms of: –loudness –pitch –length Prominence is relative to the surrounding syllables, not absolute M. Grazia Busà - 2018 Stress & Intonation
  • 3. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 3 The realization of stress is language dependent. TYPES OF STRESS: M. Grazia Busà - 2018 Stress & Intonation Pitch accent languages • Stressed syllables have a higher or lower pitch than non-stressed syllables • Prominence is realized only by means of pitch –Tone contours on the prominent syllables are always the same M. Grazia Busà - 2018 Stress & Intonation
  • 4. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 4 M. Grazia Busà - 2018 Stress & Intonation M. Grazia Busà - 2018 Stress & Intonation
  • 5. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 5 Stress languages • Stressed syllables have a higher or lower pitch than non-stressed syllables (pitch excursion) • There may be varying degrees of high vs. low pitch • Loudness, vowel quality and/or quantity may also contribute to stress M. Grazia Busà - 2018 Stress & Intonation • Stressed syllables are often perceived as being more forceful than non-stressed syllables. • Research has shown, however, that although dynamic stress is accompanied by greater respiratory force, it does not mean a more forceful articulation in the vocal tract. M. Grazia Busà - 2018 Stress & Intonation
  • 6. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 6 Prominence in English M. Grazia Busà - 2018 Stress & Intonation meta metà M. Grazia Busà - 2018 Stress & Intonation Stress in Italian
  • 7. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 7 Stress in English • an essential feature of word identity in English –Strong contrast between stressed and unstressed syllables • polysyllabic words have a primary stress, secondary, and tertiary stress or have weak syllables (with reduced vowels) M. Grazia Busà - 2018 Stress & Intonation • In English, stress is most dramatically realized on focussed or accented words. E.g. –"Is it brunch tomorrow?" –"No, it’s dinner tomorrow.” M. Grazia Busà - 2018 Stress & Intonation
  • 8. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 8 Information and Stress in English • Words that carry higher information content in the utterance are given higher stress – One word is generally stressed more than any other • 'content' words, as opposed to 'function' words, generally carry stress. • Content words: nouns, verbs, adjectives, adverbs • Function words: articles, prepositions, conjunctions, and modal auxiliaries. M. Grazia Busà - 2018 Stress & Intonation Stress and prominence in Italian and English • Italian stress: – Pitch loudness and intensity • English stress: – Pitch loudness and intensity – Full vs. reduced vowels (leading to complex consonant clusters) M. Grazia Busà - 2018 Stress & Intonation
  • 9. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 9 What is the difference between stress and intonation? M. Grazia Busà - 2018 Stress & Intonation Stress: – Involves variations in pitch, loudness and duration – Domain of application is the word – Makes one syllable in the word stand out from the rest of the word. Intonation: – Involves variations in pitch, loudness and duration – Domain of application is the phrase or the utterance – Gives certain syllables prominence over the others. M. Grazia Busà - 2018 Stress & Intonation
  • 10. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 10 i TOLD you to go M. Grazia Busà - 2018 Stress & Intonation i told YOU to go M. Grazia Busà - 2018 Stress & Intonation
  • 11. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 11 Tonic Stress (1) • The peak of stress in an intonation unit is called 'tonic stress', or 'nucleus'. –the syllable that receives the tonic stress is called 'tonic syllable'. M. Grazia Busà - 2018 Stress & Intonation Tonic Stress (2) • In a sequence of stressed syllables, these get stressed, but not as much as the tonic syllable, producing different degrees of stress in the utterance. M. Grazia Busà - 2018 Stress & Intonation
  • 12. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 12 Nuclear syllable and new information • The nuclear syllable carries: – the main focus of information – any new information. • Compare: – We looked at the hatchback. – The hatchback was old. new information new information old information M. Grazia Busà - 2018 Stress & Intonation Emphatic Stress • The tonic stress can be moved from its utterance final position for emphasis. Ex.: – It was very BOring. (unmarked) It was VEry boring. (emphatic) M. Grazia Busà - 2018 Stress & Intonation
  • 13. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 13 Contrastive Stress • Any lexical item can receive the tonic stress if it contrasts with some other lexical element in the utterance (even function words) • Examples: – Do you like this one or THAT one? I like THIS one. – She played the piano yesterday. (It was her who...) – She played the piano yesterday. (Not the violin). It was the piano that...) M. Grazia Busà - 2018 Stress & Intonation Intonation M. Grazia Busà - 2018 Stress & Intonation
  • 14. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 14 Meaning and intonation • Language conveys meaning non only through words • Emotions, emphasis, irony, contextual relevance, etc. can be conveyed through modulations of the tone of voice (what we hear as the voice going up and down) M. Grazia Busà - 2018 Stress & Intonation Meaning and intonation • These modulations are commonly referred to intonation patterns. – Intonation is only poorly represented in the written language (through full stops, commas, question marks, exclamation marks). M. Grazia Busà - 2018 Stress & Intonation
  • 15. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 15 Meanings in intonation M. Grazia Busà - 2018 Stress & Intonation Intonation and Discourse • Information status – Given/new information • S: Do you need a return ticket. • U: No, thanks, I don’t need a return. – Contrast (narrow focus) • U: No, thanks, I don’t need a RETURN…. (I need a time schedule, receipt,…) – Emphasis • U: No, thanks, I don’t NEED a return…. (I need a time schedule, receipt,…) M. Grazia Busà - 2018 Stress & Intonation
  • 16. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 16 • Speech acts (statements, questions, requests) That’ll be credit card Can you open that window? • Discourse/topic structure I’m afraid we don’t have time to finish the experiment today. The man I saw at the train station was my uncle Intonation and Discourse (2) M. Grazia Busà - 2018 Stress & Intonation ‘Paralinguistic’ Information • Emotion (anger, happiness, love) • Propositional attitude (uncertainty) Did you feed the animals? I fed the goldfish (Rise/Fall/Rise) • Level of speaker engagement Really REALLY • Personality M. Grazia Busà - 2018 Stress & Intonation
  • 17. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 17 Prosodic Disambiguation of Syntactic and Semantic Ambiguity • Bill doesn’t drink because he’s unhappy. • The presence of none of the professors will embarrass her. • He only wounded Anne. • He managed to find the woman with the binoculars. M. Grazia Busà - 2018 Stress & Intonation Language specific strategies for meaning beyond the word • All languages express meaning through intonation • However, in some languages, grammar may allow variations in word order, with differences in meaning depending on intonation. M. Grazia Busà - 2018 Stress & Intonation
  • 18. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 18 Language specific strategies for meaning beyond the word In the Romance languages and in Italian, changes in word order may signal changes in meaning: Ex.: Piero viene ~ Viene Piero M. Grazia Busà - 2018 Stress & Intonation Meaning through intonation in English • English has a fairly strictly fixed word order • Words cannot be freely re-arranged to make a point about something. • Intonation in English provides the means to convey a range of meanings, emotions or situations, within the confines of standard grammar and fixed word order. M. Grazia Busà - 2018 Stress & Intonation
  • 19. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 19 How is intonation studied? M. Grazia Busà - 2018 Stress & Intonation • The modulations in the tone of voice (or pitch) in speech (what we hear as the voice going up and down) are referred to pitch patterns or intonation patterns. M. Grazia Busà - 2018 Stress & Intonation
  • 20. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 20 M. Grazia Busà - 2018 Stress & Intonation Example: rising and falling contours Pitch • Pitch refers to the movements of the tone of voice – From a physiological point of view, pitch depends on the rate of vibration and/or alteration of the tension of the vocal cords. • When the vocal cords are stretched, the pitch of the voice increases. M. Grazia Busà - 2018 Stress & Intonation
  • 21. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 21 F0 and Pitch F0 (fundamental frequency) • Indicates the number of glottal vibrations in a second Pitch (tone height) • Perceptual correlate of F0 M. Grazia Busà - 2018 Stress & Intonation Pitch in the spectrogram M. Grazia Busà - 2018 Stress & Intonation
  • 22. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 22 Variations in Pitch • pitch can vary from high to low (pitch levels/ range). • higher pitch is heard louder than lower pitch. • stressed syllables tend to have higher pitch M. Grazia Busà - 2018 Stress & Intonation F0 M. Grazia Busà - 2018 Stress & Intonation
  • 23. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 23 The tone group • By tone group we mean the stretch of speech on which intonation applies. • Tone groups can contain only one word or as many as seven or eight. Ex.: /no / I really can't put up with it / good-bye/ M. Grazia Busà - 2018 Stress & Intonation Ex.: Tone groups M. Grazia Busà - 2018 Stress & Intonation OK Bye!
  • 24. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 24 Tone units • The division of a sentence into tone groups can affect the meaning in some cases. M. Grazia Busà - 2018 Stress & Intonation il maestro disse l’ispettore è un asino il maestro disse l’ispettore è un asino // il maestro disse l’ispettore // è un asino // M. Grazia Busà - 2018 Stress & Intonation
  • 25. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 25 – Do you take sugar? – / I don't / no / / I don't no/ Meaning: I don't, no. Meaning: I don't know. – / The prince said / the princess had been unfaithful./ Meaning: The prince said (that) the princess had been unfaithful. – / The prince / said the princess / had been unfaithful./ Meaning: "The prince," said the princess, "had been unfaithful." M. Grazia Busà - 2018 Stress & Intonation http://english.unitecnology.ac.nz/resources/resources/exp_lang/how.html About intonation models • Intonation is not a simple subject • Many different theories present differing viewpoints and terminology on intonation • Studying intonation is complicated by: – Individual variation – Variations due to speakers’ intentions and paralinguistic information M. Grazia Busà - 2018 Stress & Intonation
  • 26. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 26 Tone sequence models • General assumption: intonation is generated from sequences of (possibly) categorically different and phonologically distinctive accents (tonic syllable) M. Grazia Busà - 2018 Stress & Intonation Intonation models • Two types of models within the group of tone sequence models: Type 1: Intonation made up of sequences of pitch movements Type 2: Intonation made up of sequences of pitch levels or targets M. Grazia Busà - 2018 Stress & Intonation
  • 27. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 27 Two types of tone-sequence model t a r g e t H L t a r g e t Type 1: based on pitch movements Type 2: based on pitch levels The American School The British School The Dutch School M. Grazia Busà - 2018 Stress & Intonation The British School • Based on auditory analysis • Tone sequence model and pitch movement analysis (e.g. falling vs. rising intonation) M. Grazia Busà - 2018 Stress & Intonation
  • 28. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 28 Concepts in the British School • Basic unit of intonational description: intonation phrase (tone unit) – Delimited by pauses, phrase-final lengthening, pitch movement • Syllables within a tone unit can be stressed or accented • Accented syllables are stressed and pitch prominent M. Grazia Busà - 2018 Stress & Intonation Accent Stressed syllable has full vowel and is perceived as involving a rhythmic beat Pitch prominence – syllable produced with moving pitch or pitch change M. Grazia Busà - 2018 Stress & Intonation
  • 29. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 29 Example M. Grazia Busà - 2018 Stress & Intonation Intonation Phrase Structure • Intonational phrases have an internal structure – Structure determined by location of accents in an IP – Each accent defines the beginning of a prosodic constituent M. Grazia Busà - 2018 Stress & Intonation
  • 30. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 30 Intonation phrase (IP) structure • Two types of accent unit in the British School: – Prenuclear accent units; also called the Head – Nuclear accent units; also called the Nucleus • The nuclear accent unit is the last accent unit in the IP • The head comprises all prenuclear accent units M. Grazia Busà - 2018 Stress & Intonation Intonation phrase structure JOHN’s never BEEN to Jamaica Prenuclear accent unit Nuclear accent unit But Prehead Stressed syllable ‘Head’ ‘Nucleus’ M. Grazia Busà - 2018 Stress & Intonation
  • 31. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 31 Six nuclear choices in English Ja m a ic falling a ic rising Ja m a a a c rising-falling i Ja m a falling-rising Ja m a i c a Rising-falling-rising a c i Ja m a a level Ja m a ic a M. Grazia Busà - 2018 Stress & Intonation Prosodic constituents M. Grazia Busà - 2018 Stress & Intonation Each constituent consists of stressed (strong) and unstressed (weak) syllables. It was the best car for them to buy.
  • 32. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 32 The Head § The constituent that extends from the first stressed syllable up to (but not including) the next tonic syllable is called the head: – John’s never been to Jamaica M. Grazia Busà - 2018 Stress & Intonation The Nuclear Syllable • Within the tone group, one syllable will be even more strongly stressed than the other stressed syllables. This is called the nuclear syllable. – It was the best car for them to buy. Nuclear syllable M. Grazia Busà - 2018 Stress & Intonation
  • 33. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 33 Criticism • How are accents, prominence defined? Related to segments? Too many options…. • Are prenuclear accents qualitatively different from nuclear accents? What is the evidence? • Does each pitch accent begin a new ‘prosodic unit’ in the phrase? What is the evidence? M. Grazia Busà - 2018 Stress & Intonation The American School • Based on instrumental + auditory analysis • Analysis based on sequences of H and L levels M. Grazia Busà - 2018 Stress & Intonation
  • 34. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 34 Differences between the US and the British approach M. Grazia Busà - 2018 Stress & Intonation The American School and ToBI The following slides are taken from Julia Hirschberg www.cs.columbia.edu/~julia/cs4706/tobi.ppt M. Grazia Busà - 2018 Stress & Intonation
  • 35. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 35 The American School • American school-type models make a distinction between accents (what makes a particular word prominent) and boundary tones (how a phrase ends) • Autosegmental metrical or two-tone models • Only two tones, which may be combined – H = high target – L = low target M. Grazia Busà - 2018 Stress & Intonation Prominence and boundaries • Prominence: accents, stress – John only introduced MARY to Sue – John only introduced Mary to SUE • Boundaries: disjuncture between words – Bill doesn’t drink | because he’s unhappy – Bill doesn’t drink because he’s unhappy M. Grazia Busà - 2018 Stress & Intonation
  • 36. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 36 M. Grazia Busà - 2018 Stress & Intonation ToBI Goal • Capture enough variation to explain similarities and differences in prosodic meaning M. Grazia Busà - 2018 Stress & Intonation
  • 37. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 37 ToBI Scheme • ToBI annotation tiers: – Orthographic tier: Time-aligned words – Break-index tier: degrees of junction (0-4) Tonal tier: pitch accents, phrase accents, boundary tones – Miscellaneous tier: disfluencies, non-speech sounds, etc. M. Grazia Busà - 2018 Stress & Intonation Pitch accents: Intonational Prominence • Achieved through – Different tone targets – Differences in f0 height – Being louder and longer • Hierarchy – Last accented word tends to be most prominent – Most prominent accent in intermediate phrase is called phrase’s nuclear accent or nuclear stress M. Grazia Busà - 2018 Stress & Intonation
  • 38. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 38 Break Indices Differences • Associated with – Variation in f0 – Phrase final lengthening – Glottalization – Some amount of pause M. Grazia Busà - 2018 Stress & Intonation Degrees of junction (Break indexes) Level 0: word boundary apparently erased Level 1: typical between-word disjuncture within a phrase Level 2: Strong juncture with no tonal boundaries Level 3: minor or intermediate phraseLevel Level 4: end of an intonational phrase M. Grazia Busà - 2018 Stress & Intonation
  • 39. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 39 Accents (Ladefoged, 2006: 125). M. Grazia Busà - 2018 Stress & Intonation Phrase Ending Types L-L% L-H% H-H% H-L% !H-L% M. Grazia Busà - 2018 Stress & Intonation
  • 40. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 40 M. Grazia Busà - 2018 Stress & Intonation M. Grazia Busà - 2018 Stress & Intonation
  • 41. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 41 M. Grazia Busà - 2018 Stress & Intonation M. Grazia Busà - 2018 Stress & Intonation
  • 42. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 42 M. Grazia Busà - 2018 Stress & Intonation M. Grazia Busà - 2018 Stress & Intonation
  • 43. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 43 An interesting course • https://ocw.mit.edu/courses/electrical- engineering-and-computer-science/6-911- transcribing-prosodic-structure-of-spoken- utterances-with-tobi-january-iap-2006/lecture- notes/chapter2_6/ M. Grazia Busà - 2018 Stress & Intonation Now you try! M. Grazia Busà - 2018 Stress & Intonation
  • 44. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 44 Goodbye! M. Grazia Busà - 2018 Stress & Intonation Goodbye! M. Grazia Busà - 2018 Stress & Intonation
  • 45. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 45 (that was) boring! M. Grazia Busà - 2018 Stress & Intonation (…) very soon M. Grazia Busà - 2018 Stress & Intonation
  • 46. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 46 Laboratory models a number of laboratory techniques are used in the study of suprasegmentals M. Grazia Busà - 2018 Stress & Intonation Manual Annotation: • accuracy of the human annotator • time-consuming and error-prone M. Grazia Busà - 2018 Stress & Intonation
  • 47. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 47 Automatic Annotation: • automatic "phoneme alignment" between a phonological transcription and the recorded signal • locates segments, syllables and phrases – allows for large-scale analysis – basis for much experimental phonetics research and technological applications such as speech recognition and speech synthesis. M. Grazia Busà - 2018 Stress & Intonation M. Grazia Busà - 2018 Stress & Intonation
  • 48. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 48 Pitch track : • a "pitch track” o fundamental frequency contour can be extracted from a recorded speech signal –shows how the pitch of the voice changes through an utterance: e.g., • changes in fundamental frequency associated with pitch accents; • range of Fx used by the speaker; • voiced and voiceless regions M. Grazia Busà - 2018 Stress & Intonation Stylised pitch: • To extract parameters from the pitch track it is common practice to first model the shape of the contour. A common strategy is to sylise the changes in pitch with a sequence of simple shapes, e.g. straight lines M. Grazia Busà - 2018 Stress & Intonation
  • 49. 16/03/19 M.G. Busà, Acoustic Phonetics, a.a. 2018-197-2019 49 https://www.phon.ucl.ac.uk/courses/plin0065/week8.php M. Grazia Busà - 2018 Stress & Intonation