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RHYTHM TYPOLOGY: ACOUSTIC and PERCEPTIVE STUDIES Paolo Mairano

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RHYTHM TYPOLOGY: ACOUSTIC and PERCEPTIVE STUDIES Paolo Mairano RHYTHM TYPOLOGY: ACOUSTIC AND PERCEPTIVE STUDIES Paolo Mairano To cite this version: Paolo Mairano. RHYTHM TYPOLOGY: ACOUSTIC AND PERCEPTIVE STUDIES. Linguistics. Università degli studi di Torino, 2011. English. tel-00654261 HAL Id: tel-00654261 https://tel.archives-ouvertes.fr/tel-00654261 Submitted on 21 Dec 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Università degli Studi di Torino Dipartimento di Scienze Letterarie e Filologiche Scuola di Dottorato in Studi euro-asiatici: indologia, linguistica, onomastica Curriculum in Linguistica, Linguistica Applicata e Ingegneria Linguistica XXIII ciclo RHYTHM TYPOLOGY: ACOUSTIC AND PERCEPTIVE STUDIES Tesi presentata da: Paolo Mairano Tutor: Antonio Romano Coordinatore della scuola di dottorato: Alda Rossebastiano Coordinatore del curriculum: Carla Marello Anni accademici: 2007-2008 / 2008-2009 / 2009-2010 Settore scientifico-disciplinare di afferenza: L-LIN/01 Table of contents Acknowledgments................................................................................................... 6 1. Introduction.........................................................................................8 1.1 Rhythm......................................................................................................... 9 1.2 Speech rhythm................................................................................................. 10 1.3 Rhythm typology............................................................................................. 10 1.4 Presentation of the thesis................................................................................. 11 2. Nearly 100 years of stress-timing and syllable-timing ..................14 2.1 Introduction ..................................................................................................... 15 2.2 Stress-timing vs. syllable-timing..................................................................... 15 2.2.1 The pioneers ............................................................................................. 15 2.2.2 The classics: Pike and Abercrombie......................................................... 15 2.2.3. Further studies on syllable-timing and stress-timing............................... 17 2.2.4 A comparative study by Roach................................................................. 21 2.3 Departing from isochrony ............................................................................... 22 2.3.1 The “phonological illusionists” ................................................................ 22 2.3.2 Compensation and coarticulation ............................................................. 24 2.3.3 Linear regression studies and rhythm modelling...................................... 26 2.3.4 Rhythm metrics......................................................................................... 28 2.4 Back to syllable-timing and stress-timing? ..................................................... 29 2.4.1 A revisitation of stress-timing and syllable-timing .................................. 29 2.4.2 An unplanned experiment......................................................................... 30 2.4.3 The results................................................................................................. 31 2.4.4 A brief discussion of the results ............................................................... 33 2.5 Conclusion....................................................................................................... 34 3. 1999-2010: rhythm metrics .............................................................35 3.1 Introduction ..................................................................................................... 36 3.2 An account of rhythm metrics......................................................................... 37 3.2.1 The deltas.................................................................................................. 37 3.2.2 The PVI..................................................................................................... 39 3.2.3 Considerations on speech rate and the varcos .......................................... 41 3.2.4 Deltas and varcos versus the PVI, the debate goes on.............................. 44 3.2.5 Bertinetto & Bertini (2008): the CCI........................................................ 46 3.3 Applying the metrics to the corpus ................................................................. 49 3.3.1 Reasons for setting out to compute rhythm measures .............................. 49 3.3.2 The data .................................................................................................... 50 3.3.3 Labelling the data ..................................................................................... 52 3.3.4 The segmentation...................................................................................... 53 3.3.5 The deltas and the varcos.......................................................................... 57 3.3.6 The PVI..................................................................................................... 65 3.3.7 The CCI .................................................................................................... 66 3.4 On the possibility of including pitch and intensity ......................................... 71 3.4.1 Why on earth?........................................................................................... 71 3.4.2 An attempt ................................................................................................ 72 3.4.3 The results................................................................................................. 73 3.4.4 So.............................................................................................................. 73 3.5 Conclusion....................................................................................................... 74 4. Correlatore ........................................................................................75 4.1 Introduction ..................................................................................................... 76 4.1.1 The reasons for developing Correlatore .................................................. 76 4.2 How to use Correlatore ................................................................................... 77 4.2.1 The annotation of Praat ’s TextGrids ........................................................ 77 4.2.2 Computing rhythm metrics....................................................................... 78 4.2.3 Reports...................................................................................................... 81 4.2.4 Charts........................................................................................................ 83 4.2.5 Preferences and configurations................................................................. 84 4.3 The implementation of Correlatore ................................................................. 86 4.3.1 Why Tcl/Tk?............................................................................................. 86 4.3.2 Overview .................................................................................................. 87 4.3.3 How the segmentation and the transcriptions are dealt with .................... 87 4.3.4 How formulae are dealt with .................................................................... 89 4.3.5 How reports are dealt with........................................................................ 89 4.3.6 How charts are dealt with ......................................................................... 91 4.3.7 SASASA files............................................................................................. 91 4.4 Conclusion and future perspectives................................................................. 92 5. Rhythm variation and variability ...................................................93 5.1 Introduction ..................................................................................................... 94 5.2 The study of rhythm variation......................................................................... 94 5.3 The study of rhythm variability....................................................................... 97 5.4 Inter-operator variability of rhythm metrics.................................................... 98 5.5 Speakers and rhythm variability.................................................................... 103 5.5.1 Intra-speaker variability.......................................................................... 103 5.5.2 Inter-speaker variability.......................................................................... 106 5.5.3 Geographical variability vs. variation .................................................... 107 5.5.4 Discussion on rhythm variation and variability...................................... 110 5.6 Conclusion....................................................................................................
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