By J. 't Hart, R. Collier, A. Cohen
This e-book provides an experimental-phonetic method of the research of intonation, outlined because the ensemble of pitch adaptations in speech. It provides an in depth explication of the research of intonation by way of the stylization process: learning the perceptual outcomes of planned simplifications of speech melody makes it attainable to offer an outline when it comes to perceptually proper, discrete occasions. Theoretical insights and the acoustic, perceptual, and physiological experimental proof that helps them are amply mentioned. Phoneticians and speech scientists will locate the cutting edge, targeted beneficial properties of this ebook of curiosity.
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Additional info for A Perceptual Study of Intonation: An Experimental-Phonetic Approach to Speech Melody
Thus, we should expect that the results supplied by psychoacoustics may be more detailed than needed for our purpose. Fortunately, apart from purely psychoacoustic experiments, a number of experiments have also been carried out that can be called 'psychophonetic'. A comparison between these and psychoacoustic experiments might give us an indication as to how serious the discrepancies may be between the limits of pitch perception and the perception of pitch in speech. 4). 1 The differential threshold of pitch When asked to tell the pitch of only one tone, listeners are practically unable to perform this task.
This can be interpreted in terms of an absolute threshold, a glide from 120 to 123 Hz being just distinguishable from a stationary tone. Now, in terms of speed of pitch change, Rossi's data boil down to 95 (200 ms), 250 (100 ms) and 890 (50 ms) Hz/s, whereas Klatt's result corresponds with only 12 Hz/s (in 250 ms). A (small) extrapolation of Rossi's data to 250 ms would give about 60 Hz/s, five times as much as the value found by Klatt. Ironically, Klatt did his experiment with the aim of demonstrating that when the dynamic-situation characteristic of speech was taken into account, the various thresholds would be considerably higher than those obtained in psychoacoustic research.
Pitch was transcribed taking the syllable as the descriptive unit. This procedure must have given difficulties, since, for one thing, Fo need not be stationary during the entire voiced part of the syllable; for another, if it were nevertheless perceived as stationary in some cases, the corresponding pitch sensation need not coincide with any of the discrete tones of the harmonium. 3, the absolute threshold of pitch change). The second difficulty can be avoided by taking a reference signal whose Fo can be varied continuously.