Measuring Formant Frequencies

Total Page:16

File Type:pdf, Size:1020Kb

Measuring Formant Frequencies Linguistics 415 Phonetics Measuring Formant Frequencies Goal: Measure the formants frequencies associated with your own vowel gestures. To do so, you will record a set of words that minimally contrast in their vowels, and use the application Praat to make spectrograms of these utterances and estimates of the formant frequencies during the vowels. Materials: You will record the following two sets of words: Front vowels: heed, hid, head, had Back vowels: hod, hood, who'd Recording: (1) Follow the procedures in the handout Measuring F0 exercise to set up for a recording. (2) When you are ready to record, hit the record button. Read the list of words: "heed, hid, head, had." Hit the stop button again to stop recording. (3) Listen to the waveform that you just recorded. Make sure it does not sound distorted (as it would sound if it were "clipped," ie., recorded at a level so high that it cuts off the top and bottom of the signal). If it sounds distorted, try recording again, putting the microphone further from your mouth, or lowering the gain in the control panel. (4) If the signal sounds good, type front in the box next to the To List: button, and then click the button. Sound front will now appear in the list of Praat objects. (5) Follow steps (2)-(4) for the back vowel words ("hod," "hood," “who'd"). Create a point text grid for measurements: (1) Select Sound front from the object list, depress the Annotate menu button and select To Textgrid... Type Vowels as the tier name and also next to Which of these are point tiers? (2) Textgrid front should now show up in the list of objects. Spectrogram Generation: (1) Select Sound front and Textgrid front objects, and click on Edit. You should see a window with the signal's waveform and a textgrid tier. (2) Select the segment of the signal from the beginning of the word "heed" to the end of the word "had," and click on the sel button. You should now have rid the display of any silence at the beginning and end of the file. The total displayed time should be 2-3 seconds. If it is much longer than that, try cutting out some of the silence between words by using Cut from the Edit menu. (3) Go to the Spectrum menu of the Edit window and select Show Spectrogram. The resulting display should look like Figure 1 (minus the text in the textgrid). " Figure 1 (4) Make sure the parameters for the spectrogram analysis are set appropriately. To do so, select Spectrogram Settings... from the Spectrum menu of the Edit window. Set the values of the parameters so they look like Figure 2 below. " Figure 2 (5) If the resulting spectrogram is too dark, set the dynamic range to a lower number. If it is too light, set it to a higher number (maybe as high as 80 or 90). (6) If your formants are unclear and there seem to be multiple bars for each formants (corresponding to harmonics), choose a lower value for Window Length (.004s or .003s). Formant Frequency measurement: (1) Conceptually, the procedure for measuring formant frequencies is as follows. Look at the spectrogram of the word whose vowel you want to measure, and find a characteristic point in time to measure the formants. You want to choose a point in time at which the vowel formants are minimally influenced by any consonant gestures surrounding it. Since these words begin with a consonant that does not have any oral constriction gesture, the formants near the beginning will be more characteristic of the vowel's resonances than the formants near the end, where the alveolar closure will influence the formants. Choose a point in time at which the formants are fairly steady (they don't change much over time). The position of the vertical cursor in Figure 1 shows a point in time in the vowel in the word "hid" that I found to be a good point to measure. (2) Create a label point in the text grid at the cursor location by clicking in the little circle at the top of line in the textgrid. This will create a label point, and will select it as the current point, turning the vertical line red. By typing now, the resulting text will show up in middle of that vertical line, as you see in the example in Figure 1. (3) By clicking in the spectrogram window, vertical and horizontal cursors will appear, along with frequency values (shown at the left). Once you have chosen a point in time, measure the formant frequencies by clicking in the (vertical) centers of the dark formant bands at the point in time that you chose. First click in the vertical center of the band associated with F1, note its frequency at the left, and type that value in the text box at the top (it will appear in the text grid). Now click in the vertical center of F2. Try not to move the vertical cursor as you move from formant to formant. Clicking exactly on the vertical cursor should insure this. Type its value in the text box, and move on to F3. When you are done, you will have three values for each vowel (as shown for "hid" in the example). Remember that for back vowels (particularly for "hod") F1 and F2 may be very close to each other and you may not see any real separation between them. Do the best you can to divide the single large band into two formants. (4) If you are having insurmountable problems in getting good formant measurements, send me email with the file attached. (5) Note that if you click on Show Formants in the Formants menu, you will see where Praat thinks the formants are. Also note that Praat is not always right, however. I want to see where you think the formants are. (6) Follow the same procedure for Back vowels (see above). (7) Save all four objects your have created (Sound front, Textgrid front, Sound Back, Textgrid Back) into a file called your name_vowels.Collection. To do so, select all four objects and Choose Write to Binary file... Email the resulting file to me, as well as all the vowsyn files. (8) Complete the vowel chart below, representing the position of each vowel as a point in the F1 vs. F2-F1 graph. Email this plot to me well. ".
Recommended publications
  • Karlheinz Stockhausen's Stimmung and Vowel Overtone Singing Wolfgang Saus, 27.01.2009
    - 1 - Saus, W., 2009. Karlheinz Stockhausen’s STIMMUNG and Vowel Overtone Singing. In Ročenka textů zahraničních profesorů / The Annual of Texts by Foreign Guest Professors. Univerzita Karlova v Praze, Filozofická fakulta: FF UK Praha, ISBN 978-80-7308-290-1, S 471-478. Karlheinz Stockhausen's Stimmung and Vowel Overtone Singing Wolfgang Saus, 27.01.2009 Karlheinz Stockhausen created STIMMUNG1 for six vocalists in one maintains the same vocal timbre and sings a portamento, then 1968 (first setting 1967). It is the first vocal work in Western se- the formants remain constant on their pitch and the overtones rious music with explicitly notated vocal overtones2, and is emerge one after the other as their frequencies fall into the range of therefore the first classic composition for overtone singing. Howe- the vocal formant. ver, the singing technique in STIMMUNG is different from It is not immediately obvious from the score whether Stock- "western overtone singing" as practiced by most overtone singers hausen's numbering refers to overtones or partials. Since the today. I would like to introduce the concept of "vowel overtone fundamental is counted as partial number 1, the corresponding singing," as used by Stockhausen, as a distinct technique in additi- overtone position is always one lower. The 5th overtone is identi- on to the L, R or other overtone singing techniques3. cal with the 6th partial. The tape chord of 7 sine tones mentioned Stockhausen demands in the instructions to his composition the in the performance material provides clarification. Its fundamental mastery of the vowel square. This is a collection of phonetic signs, is indicated at 57 Hz, what corresponds to B2♭ −38 ct.
    [Show full text]
  • Sounds of Speech Sounds of Speech
    TM TOOLS for PROGRAMSCHOOLS SOUNDS OF SPEECH SOUNDS OF SPEECH Consonant Frequency Bands Vowel Chart (Maxon & Brackett, 1992; and Ling, 1979) (*adapted from Ling and Ling, 1978) Ling, D. & Ling, A. (1978) Aural Habilitation — The Foundations of Verbal Learning in Hearing-Impaired Children Washington DC: The Alexander Graham Bell Association for the Deaf. Consonant Frequency Bands (Hz) 1 2 3 4 /w/ 250–800 /n/ 250–350 1000–1500 2000–3,000 /m/ 250–350 1000–1500 2500–3500 /ŋ/ 250–400 1000–1500 2000–3,000 /r/ 600–800 1000–1500 1800–2400 /g/ 200–300 1500–2500 /j/ 200–300 2000–3000 /ʤ/ 200–300 2000–3000 /l/ 250–400 2000–3000 /b/ 300–400 2000–2500 Tips for using The Sounds of Speech charts and tables: /d/ 300–400 2500–3000 1. These charts and tables with vowel and consonant formant information are designed to assist /ʒ/ 200–300 1500–3500 3500–7000 you during therapy. The values in the charts are estimated acoustic data and will be variable from speaker to speaker. /z/ 200–300 4000–5000 2. It is important to note not only the first formant of the target sounds during therapy, but also the /ð/ 250–350 4500–6000 subsequent formants as well. For example, some vowels share the same first formant F1. It is /v/ 300–400 3500–4500 the second formant F2 which will make these vowels sound different. If a child can't detect F2 they will have discrimination problems for vowels which vary only by the second formant e.g.
    [Show full text]
  • Consonants Consonants Vs. Vowels Formant Frequencies Place Of
    The Acoustics of Speech Production: Source-Filter Theory of Speech Consonants Production Source Filter Speech Speech production can be divided into two independent parts •Sources of sound (i.e., signals) such as the larynx •Filters that modify the source (i.e., systems) such as the vocal tract Consonants Consonants Vs. Vowels All three sources are used • Frication Vowels Consonants • Aspiration • Voicing • Slow changes in • Rapid changes in articulators articulators Articulations change resonances of the vocal tract • Resonances of the vocal tract are called formants • Produced by with a • Produced by making • Moving the tongue, lips and jaw change the shape of the vocal tract relatively open vocal constrictions in the • Changing the shape of the vocal tract changes the formant frequencies tract vocal tract Consonants are created by coordinating changes in the sources with changes in the filter (i.e., formant frequencies) • Only the voicing • Coordination of all source is used three sources (frication, aspiration, voicing) Formant Frequencies Place of Articulation The First Formant (F1) • Affected by the size of Velar Alveolar the constriction • Cue for manner • Unrelated to place Bilabial The second and third formants (F2 and F3) • Affected by place of articulation /AdA/ 1 Place of Articulation Place of Articulation Bilabials (e.g., /b/, /p/, /m/) -- Low Frequencies • Lower F2 • Lower F3 Alveolars (e.g., /d/, /n/, /s/) -- High Frequencies • Higher F2 • Higher F3 Velars (e.g., /g/, /k/) -- Middle Frequencies • Higher F2 /AdA/ /AgA/ • Lower
    [Show full text]
  • Measuring Vowel Formants ­ UW Phonetics/Sociolinguistics Lab Wiki Measuring Vowel Formants
    6/18/2015 Measuring Vowel Formants ­ UW Phonetics/Sociolinguistics Lab Wiki Measuring Vowel Formants From UW Phonetics/Sociolinguistics Lab Wiki By Richard Wright and David Nichols. Introduction Vowel quality is based (largely) on our perception of the relationship between the first and second formants (F1 & F2) of a vowel in combination with the third formant (F3) and details in the vowel's spectrum. We can measure F1 and F2 using a variety of tools. A researcher's auditory impression is the most important qualitative tool in linguists; we can transcribe what we hear using qualitative labels such as IPA symbols. For a trained transcriber, transcriptions based on auditory impressions are sufficient for many purposes. However, when the goals of the research require a higher level of accuracy than can be achieved using transcriptions alone, researchers have a variety of tools available to them. Spectrograms are probably the most commonly used acoustic tool; most phoneticians consult spectrograms when making narrow transcriptions or when making decisions about where to measure the signal using other tools. While spectrograms can be very useful, they are typically used as qualitative tools because it is difficult to make most measures accurately from a spectrogram alone. Therefore, many measures that might be made using a spectrogram are typically supplemented using other, more precise tools. In this case an LPC (linear predictive coding) analysis is used to track (estimate) the center of each formant and can also be used to estimate the formant's bandwidth. On its own, the LPC spectrum is generally reliable, but it may sometimes miscalculate a formant severely by mistaking another formant or a harmonic for the formant you're trying to find.
    [Show full text]
  • Static Measurements of Vowel Formant Frequencies and Bandwidths A
    Journal of Communication Disorders 74 (2018) 74–97 Contents lists available at ScienceDirect Journal of Communication Disorders journal homepage: www.elsevier.com/locate/jcomdis Static measurements of vowel formant frequencies and bandwidths: A review T ⁎ Raymond D. Kent , Houri K. Vorperian Waisman Center, University of Wisconsin-Madison, United States ABSTRACT Purpose: Data on vowel formants have been derived primarily from static measures representing an assumed steady state. This review summarizes data on formant frequencies and bandwidths for American English and also addresses (a) sources of variability (focusing on speech sample and time sampling point), and (b) methods of data reduction such as vowel area and dispersion. Method: Searches were conducted with CINAHL, Google Scholar, MEDLINE/PubMed, SCOPUS, and other online sources including legacy articles and references. The primary search items were vowels, vowel space area, vowel dispersion, formants, formant frequency, and formant band- width. Results: Data on formant frequencies and bandwidths are available for both sexes over the life- span, but considerable variability in results across studies affects even features of the basic vowel quadrilateral. Origins of variability likely include differences in speech sample and time sampling point. The data reveal the emergence of sex differences by 4 years of age, maturational reductions in formant bandwidth, and decreased formant frequencies with advancing age in some persons. It appears that a combination of methods of data reduction
    [Show full text]
  • PVA Study Guide Answer
    PVA Study Guide (Adapted from Chicago NATS Chapter PVA Book Discussion by Chadley Ballantyne. Answers by Ken Bozeman) Chapter 2 How are harmonics related to pitch? Pitch is perception of the frequency of a sound. A sound may be comprised of many frequencies. A tone with clear pitch is comprised of a set of frequencies that are all whole integer multiples of the lowest frequency, which therefore create a sound pressure pattern that repeats itself at the frequency of that lowest frequency—the fundamental frequency—and which is perceived to be the pitch of that lowest frequency. Such frequency sets are called harmonics, and are said to be harmonic. Which harmonic do we perceive as the pitch of a musical tone? The first harmonic. The fundamental frequency. What is another name for this harmonic? The fundamental frequency. In this text designated by H1. There is a movement within the science community to unify designations and henceforth to indicate harmonics as multiples of the fundamental frequency oscillation fo, such that the first harmonic would be 1 fo or just fo. Higher harmonics would then be 2 fo, 3 fo, etc. If the pitch G1 has a frequency of 100 Hz, what is the frequency for the following harmonics? H1 _100______ H2 _200______ H3 _300______ H4 _400______ What would be the answer if the pitch is A3 with a frequency of 220 Hz? H1 __220_____ H2 __440_____ H3 __660_____ H4 __880_____ Figure 1 shows the Harmonic series beginning on C3. If the frequency of C3 is 130.81 Hz, what is the difference in Hz between each harmonic in this figure? 130.81Hz How is that different from the musical intervals between these harmonics? Musical intervals are logarithmic, and represent frequency ratios between successive harmonics, such that 2fo/1fo is an octave or a 2/1 ratio; 3fo/2fo is a P5th or a 3/2 ratio; 4fo/3fo is a P4th, or a 4/3 ratio, etc.
    [Show full text]
  • On the Acoustical and Perceptual Features of Vowel Nasality By
    On the Acoustical and Perceptual Features of Vowel Nasality by Will Styler B.A., University of Colorado, 2008 M.A., University of Colorado, 2008 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Linguistics 2015 This thesis, entitled: On the Acoustical and Perceptual Features of Vowel Nasality written by Will Styler has been approved for the Department of Linguistics Dr. Rebecca Scarborough, Committee Chair Dr. Kathy Arehart Dr. Mans Hulden Dr. Martha Palmer Dr. David Rood Dr. Wayne Ward Date: The final copy of this thesis has been examined by the signatories, and we find thatboththe content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. IRB Protocol #: 13-0668 Will Styler - Final Submitted Version Abstract Styler, Will (Ph.D., Linguistics, Department of Linguistics) On the Acoustical and Perceptual Features of Vowel Nasality Thesis directed by Assistant Professor Rebecca A. Scarborough Although much is known about the linguistic function of vowel nasality, either contrastive (as in French) or coarticulatory (as in English), less is known about its perception. This study uses careful examination of production patterns, along with data from both machine learning and human listeners to establish which acoustical features are useful (and used) for identifying vowel nasality. A corpus of 4,778 oral and nasal or nasalized vowels in English and French was collected, and feature data for 29 potential perceptual features was extracted. A series of Linear Mixed-Effects Regressions showed 7 promising features with large oral-to-nasal feature differences, and high- lighted some cross-linguistic differences in the relative importance of these features.
    [Show full text]
  • The Acoustics of the Violin
    THE ACOUSTICS OF THE VIOLIN. BY ERIC JOHNSON This Thesis is presented in part fulfilment of the degree of Doctor of Philosophy at the University of Salford. Department of Applied Acoustics University of Salford Salford, Lancashire. 30 September, 1981. i THE ACOUSTICS OF THE VIOLIN. i TABLE OF CONTENTS Chapter 1: The Violin. page 1 Introduction 1 A Brief History of the Violin 2 Building the Violin 5 The Best Violins and What Makes Them Different 11 References 15 Chapter 2: Experimental and Theoretical Methods. 16 Measuring the Frequency Response 16 Holography 24 The Green's Function Technique 34 References 40 Chapter, 3: Dynamics of the Bowed String. 41 The Bowed String 41 The Wolf- Note 53 References 58 Chapter 4: An Overview of Violin Design. 59 The Violin's. Design 59 The Bridge as a Transmission Element 69 The Function of the Soundpost and Bassbar 73 Modelling the Helmholtz and Front Plate Modes 76 Other Air Modes in, the Violin Cavity 79 References 84 Chapter 5: Modelling the Response of the Violin. 85 The Model 85 Evaluating the Model 93 Investigating Violin Design 99 References 106 Chapter 6: Mass- Production Applications 107 Manufacturing Techniques 107 References 116 I Y., a THE ACOUSTICS OF THE VIOLIN. ii ACKNOWLEDGEMENTS Ina work., such as this it is diff icult' to thank all those who came playedla part in its evolution. Ideas and help from so many directiöiis thät söme, whos'e aid was"appreciated, have no doubt been left out ii myätküowledgements Those who played the most cdnspicuous role in the writing of thesis are listed below but the list is by _this no means complete.
    [Show full text]
  • What Happens in Singing? Higher, Second Formant, Being Controlled by the Size and Shape of the Mouth
    cern ourselves here with only the first two, the lower or first formant being controlled by the throat space, and the What Happens In Singing? higher, second formant, being controlled by the size and shape of the mouth. Learning to control the formants which provide us with NUMBER 3 - RESONANCE many different vowels begins during our infancy. By the time one is about a year old he has learned to produce most J. LOREN JONES of the vowels with fairly good discrimination. In fact, we have learned the skill of manipulating the spaces of our Music Department vocal tract at such an early age that we do not recall ever Michigan State University having learned it. The disciplines of the singing voice, with a much wider range than speech and much more specific There are some who believe that a beautifully resonant and more sustained pitches, demand a much greater degree voice is a pure gift from God and that there is little a teacher of proficiency in controlling the spaces of the vocal tract or choral director can do for the student who does not sing and the resulting formants. well. While it may be true that some are better endowed Fonnants and Overtones with vocal abilities and musical aptitudes than others, it is In spoken English we will use 12 or 13 different vowels, also true that our vocal mechanisms are more nearly the each with its own unique set of overtones or formants. If some than they are different and that poor singers can, and a male singer were to sing a series of vowels on the pitch do, learn to sing well.
    [Show full text]
  • A. Acoustic Theory and Modeling of the Vocal Tract
    A. Acoustic Theory and Modeling of the Vocal Tract by H.W. Strube, Drittes Physikalisches Institut, Universität Göttingen A.l Introduction This appendix is intended for those readers who want to inform themselves about the mathematical treatment of the vocal-tract acoustics and about its modeling in the time and frequency domains. Apart from providing a funda­ mental understanding, this is required for all applications and investigations concerned with the relationship between geometric and acoustic properties of the vocal tract, such as articulatory synthesis, determination of the tract shape from acoustic quantities, inverse filtering, etc. Historically, the formants of speech were conjectured to be resonances of cavities in the vocal tract. In the case of a narrow constriction at or near the lips, such as for the vowel [uJ, the volume of the tract can be considered a Helmholtz resonator (the glottis is assumed almost closed). However, this can only explain the first formant. Also, the constriction - if any - is usu­ ally situated farther back. Then the tract may be roughly approximated as a cascade of two resonators, accounting for two formants. But all these approx­ imations by discrete cavities proved unrealistic. Thus researchers have have now adopted a more reasonable description of the vocal tract as a nonuni­ form acoustical transmission line. This can explain an infinite number of res­ onances, of which, however, only the first 2 to 4 are of phonetic importance. Depending on the kind of sound, the tube system has different topology: • for vowel-like sounds, pharynx and mouth form one tube; • for nasalized vowels, the tube is branched, with transmission from pharynx through mouth and nose; • for nasal consonants, transmission is through pharynx and nose, with the closed mouth tract as a "shunt" line.
    [Show full text]
  • Choral Resonance: Re-Examining Concepts of Tone and Unification
    CHORAL RESONANCE: RE-EXAMINING CONCEPTS OF TONE AND UNIFICATION Amanda Renee Quist, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Jerry McCoy, Major Professor Stephen F. Austin, Minor Professor Henry Gibbons, Committee Member and Division Chair Graham Phipps, Director of Graduate Programs James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Quist, Amanda Renee. Choral resonance: Re-examining concepts of tone and unification. Doctor of Musical Arts (Performance), August 2008, 50 pp., 8 illustrations, 4 suggested exercises, 31 references. Resonant singing creates possibilities with dynamic shading, subtlety of phrasing, and rich vibrant tone that astonishes listeners. Choral singing that employs resonance as a fundamental ensemble virtue yields impressive results that lend themselves well to the varying demands of any choral score. Fortunately, choruses of every level can benefit from an increased understanding of the basic principles of resonance in the singing voice. Research on issues of upper partial energy and the presence of the singer’s formant in a choral ensemble has been limited in approach. Many published studies regarding upper partial energy in the choral ensemble are based on what the ensemble is already doing, which is linked to the teaching of that specific director and that specific choir. Research must include a wider range of aesthetic choices with regard to choral unification. Through examining spectrograms that represent the sound of some of the most renowned choirs, it is possible to see that many of these ensembles are producing tone that contains a high level of upper formant energy.
    [Show full text]
  • Correlation Between the Frequencies of Harmonic Partials Generated from Selected Fundamentals and Pitches of Supplied Tones
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1962 Correlation between the frequencies of harmonic partials generated from selected fundamentals and pitches of supplied tones Chester Orlan Strom The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Strom, Chester Orlan, "Correlation between the frequencies of harmonic partials generated from selected fundamentals and pitches of supplied tones" (1962). Graduate Student Theses, Dissertations, & Professional Papers. 1913. https://scholarworks.umt.edu/etd/1913 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. CORRELATION BETWEEN THE FREQUENCIES OF HARMONIC PARTIALS GENERATED FROM SELECTED FUNDAMENTALS AND PITCHES OF SUPPLIED TONES by CHESTER ORLAN STROM BoMo Montana State University, 1960 Presented in partial fulfillment of the requirements for the degree of Master of Music MONTANA STATE UNIVERSITY 1962 Approved by: Chairman, Board of Examine Dean, Graduate School JUL 3 1 1902 Date UMI Number: EP35290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
    [Show full text]