The Cross‐Linguistic Patterns of Phonation Types
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Towards a Practical Phonology of Korean
Towards a practical phonology of Korean Research Master programme in Linguistics Leiden University Graduation thesis Lorenzo Oechies Supervisor: Dr. J.M. Wiedenhof Second reader: Dr. A.R. Nam June 1, 2020 The blue silhouette of the Korean peninsula featured on the front page of this thesis is taken from the Korean Unification Flag (Wikimedia 2009), which is used to represent both North and South Korea. Contents Introduction ..................................................................................................................................................... iii 0. Conventions ............................................................................................................................................... vii 0.1 Romanisation ........................................................................................................................................................ vii 0.2 Glosses .................................................................................................................................................................... viii 0.3 Symbols .................................................................................................................................................................. viii 0.4 Phonetic transcription ........................................................................................................................................ ix 0.5 Phonemic transcription..................................................................................................................................... -
Phonation Types of Korean Fricatives and Affricates
ISSN 2005-8063 2017. 12. 31. 말소리와 음성과학 Vol.9 No.4 pp. 51-57 http://dx.doi.org/10.13064/KSSS.2017.9.4.051 Phonation types of Korean fricatives and affricates Goun Lee* Abstract The current study compared the acoustic features of the two phonation types for Korean fricatives (plain: /s/, fortis : /s’/) and the three types for affricates (aspirated : /tsʰ/, lenis : /ts/, and fortis : /ts’/) in order to determine the phonetic status of the plain fricative /s/. Considering the different manners of articulation between fricatives and affricates, we examined four acoustic parameters (rise time, intensity, fundamental frequency, and Cepstral Peak Prominence (CPP) values) of the 20 Korean native speakers’ productions. The results showed that unlike Korean affricates, F0 cannot distinguish two fricatives, and voice quality (CPP values) only distinguishes phonation types of Korean fricatives and affricates by grouping non-fortis sibilants together. Therefore, based on the similarity found in /tsʰ/ and /ts/ and the idiosyncratic pattern found in /s/, this research concludes that non-fortis fricative /s/ cannot be categorized as belonging to either phonation type. Keywords: Korean fricatives, Korean affricates, phonation type, acoustic characteristics, breathy voice 1. Introduction aspirated-like characteristic by remaining voiceless in intervocalic position. Whereas the lenis stops become voiced in intervocalic Korean has very well established three-way contrasts (e.g., position (e.g., /pata/ → / [pada] ‘sea’), the aspirated stops do not aspirated, lenis, and fortis) both in stops and affricates in three undergo intervocalic voicing (e.g., /patʰaŋ/ → [patʰaŋ] places of articulation (bilabial, alveolar, velar). However, this ‘foundation’). Since the plain fricative /s/, like the aspirated stops, distinction does not occur in fricatives, leaving only a two-way does not undergo intervocalic voicing, categorizing the plain contrast between fortis fricative /s’/ and non-fortis (hereafter, plain) fricative as aspirated is also possible. -
Proceedings of the 38Th Annual Meeting of the Berkeley Linguistics Society (2014), Pp
UC Berkeley Proceedings of the Annual Meeting of the Berkeley Linguistics Society Title The Articulatory Function of the Larynx and the Origins of Speech Permalink https://escholarship.org/uc/item/7qx7x2dt Journal Proceedings of the Annual Meeting of the Berkeley Linguistics Society, 38(38) ISSN 2377-1666 Author Esling, John H Publication Date 2014 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Articulatory Function of the Larynx and the Origins of Speech Author(s): John H. Esling Proceedings of the 38th Annual Meeting of the Berkeley Linguistics Society (2014), pp. 121-150 General Session and Thematic Session on Language Contact Editors: Kayla Carpenter, Oana David, Florian Lionnet, Christine Sheil, Tammy Stark, Vivian Wauters Please contact BLS regarding any further use of this work. BLS retains copyright for both print and screen forms of the publication. BLS may be contacted via http://linguistics.berkeley.edu/bls/ . The Annual Proceedings of the Berkeley Linguistics Society is published online via eLanguage , the Linguistic Society of America's digital publishing platform. The Articulatory Function of the Larynx and the Origins of Speech JOHN H. ESLING University of Victoria Introduction The ‘laryngeal articulator,’ consisting of the glottal mechanism, the supraglottic tube, the pharyngeal/epiglottal mechanism, and including three levels of folds: the vocal folds, the ventricular folds, and the aryepiglottic folds, is shown to be responsible for the generation of multiple source vibrations and for the complex modification of the pharyngeal resonating chamber that accounts for a wide range of contrastive auditory qualities. These qualities are observed in a surprisingly large number of the languages of the world, both linguistically and paralinguistically, and they account for sounds which have been labeled as ‘pharyngeal,’ as ‘epiglottal,’ and as various phonation types. -
The New Dictionary of Music and Musicians
The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo ries and polyphonic music. IV. Modal scales and folk song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes. -
Phonological Use of the Larynx: a Tutorial Jacqueline Vaissière
Phonological use of the larynx: a tutorial Jacqueline Vaissière To cite this version: Jacqueline Vaissière. Phonological use of the larynx: a tutorial. Larynx 97, 1994, Marseille, France. pp.115-126. halshs-00703584 HAL Id: halshs-00703584 https://halshs.archives-ouvertes.fr/halshs-00703584 Submitted on 3 Jun 2012 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. Vaissière, J., (1997), "Phonological use of the larynx: a tutorial", Larynx 97, Marseille, 115-126. PHONOLOGICAL USE OF THE LARYNX J. Vaissière UPRESA-CNRS 1027, Institut de Phonétique, Paris, France larynx used as a carrier of paralinguistic information . RÉSUMÉ THE PRIMARY FUNCTION OF THE LARYNX Cette communication concerne le rôle du IS PROTECTIVE larynx dans l'acte de communication. Toutes As stated by Sapir, 1923, les langues du monde utilisent des physiologically, "speech is an overlaid configurations caractéristiques du larynx, aux function, or to be more precise, a group of niveaux segmental, lexical, et supralexical. Nous présentons d'abord l'utilisation des différents types de phonation pour distinguer entre les consonnes et les voyelles dans les overlaid functions. It gets what service it can langues du monde, et également du larynx out of organs and functions, nervous and comme lieu d'articulation des glottales, et la muscular, that come into being and are production des éjectives et des implosives. -
And [W] Distinction in Back Round Vowel Contexts
BRITISH ENGLISH [KW], [K], AND [W] DISTINCTION IN BACK ROUND VOWEL CONTEXTS Helena Beeley University of Oxford [email protected] ABSTRACT the effect of labialization on rounded vowel transi- tions was not discussed in these studies, nor were Corpus data from the Audio British National Cor- English stops with secondary labialization the focus pus was used to compare the acoustics of British of study. This paper aims to analyse the acoustics English stops with velar and/or labial articulation in of phonemic secondary labialization of stops and onset positions preceding back rounded vowels. The approximants and of non-phonemic coarticulatory acoustics of labialized velar stops in British English labialization of stops in back vowel contexts. Due have not commonly been described due to their fre- to the absence of a contrast between labialized velar quent phonological analysis as clusters. Labialized stops and /kw/ clusters in syllable onsets in English velars have been characterized cross-linguistically the question of the exact phonological status of the in terms of low second formant frequency, but it sounds is not considered very relevant to the present was found that third formant frequency is a more discussion. significant cue to differentiation in back rounded vowel contexts. Plain velars with non-phonemic 2. THE CORPUS labialization resulting from proximity to a follow- ing back rounded vowel did not differ significantly The Audio British National Corpus [2] consists of from labialized velars in formant transition frequen- approximately 7 million words of spontaneous En- cies. Lower F3 in labial-velar approximants indi- glish speech. Recordings were collected during the cates more lip-rounding but higher F2 suggests a period 1991 to 1994 using analogue audio casette more fronted tongue position. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
A Gender Analysis of the Countertenor Within Opera
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Undergraduate Honors Theses Student Research 5-8-2021 The Voice of Androgyny: A Gender Analysis of the Countertenor Within Opera Samuel Sherman [email protected] Follow this and additional works at: https://digscholarship.unco.edu/honors Recommended Citation Sherman, Samuel, "The Voice of Androgyny: A Gender Analysis of the Countertenor Within Opera" (2021). Undergraduate Honors Theses. 47. https://digscholarship.unco.edu/honors/47 This Article is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. University of Northern Colorado Greeley, Colorado The Voice of Androgyny: A Gender Analysis of the Countertenor Within Opera A Thesis Submitted in Partial Fulfillment for Graduation with Honors Distinction and the Degree of Bachelor of Music Samuel W. Sherman School of Music May 2021 Signature Page The Voice of Androgyny: A Gender Analysis of the Countertenor Within Opera PREPARED BY: Samuel Sherman APPROVED BY THESIS ADVISOR: _ Brian Luedloff HONORS DEPT LIAISON:_ Dr. Michael Oravitz HONORS DIRECTIOR: Loree Crow RECEIVED BY THE UNIVERSTIY THESIS/CAPSONTE PROJECT COMMITTEE ON: May 8th, 2021 1 Abstract Opera, as an art form and historical vocal practice, continues to be a field where self-expression and the representation of the human experience can be portrayed. However, in contrast to the current societal expansion of diversity and inclusion movements, vocal range classifications within vocal music and its use in opera are arguably exclusive in nature. -
Part 1: Introduction to The
PREVIEW OF THE IPA HANDBOOK Handbook of the International Phonetic Association: A guide to the use of the International Phonetic Alphabet PARTI Introduction to the IPA 1. What is the International Phonetic Alphabet? The aim of the International Phonetic Association is to promote the scientific study of phonetics and the various practical applications of that science. For both these it is necessary to have a consistent way of representing the sounds of language in written form. From its foundation in 1886 the Association has been concerned to develop a system of notation which would be convenient to use, but comprehensive enough to cope with the wide variety of sounds found in the languages of the world; and to encourage the use of thjs notation as widely as possible among those concerned with language. The system is generally known as the International Phonetic Alphabet. Both the Association and its Alphabet are widely referred to by the abbreviation IPA, but here 'IPA' will be used only for the Alphabet. The IPA is based on the Roman alphabet, which has the advantage of being widely familiar, but also includes letters and additional symbols from a variety of other sources. These additions are necessary because the variety of sounds in languages is much greater than the number of letters in the Roman alphabet. The use of sequences of phonetic symbols to represent speech is known as transcription. The IPA can be used for many different purposes. For instance, it can be used as a way to show pronunciation in a dictionary, to record a language in linguistic fieldwork, to form the basis of a writing system for a language, or to annotate acoustic and other displays in the analysis of speech. -
Glossary of Key Terms
Glossary of Key Terms accent: a pronunciation variety used by a specific group of people. allophone: different phonetic realizations of a phoneme. allophonic variation: variations in how a phoneme is pronounced which do not create a meaning difference in words. alveolar: a sound produced near or on the alveolar ridge. alveolar ridge: the small bony ridge behind the upper front teeth. approximants: obstruct the air flow so little that they could almost be classed as vowels if they were in a different context (e.g. /w/ or /j/). articulatory organs – (or articulators): are the different parts of the vocal tract that can change the shape of the air flow. articulatory settings or ‘voice quality’: refers to the characteristic or long-term positioning of articulators by individual or groups of speakers of a particular language. aspirated: phonemes involve an auditory plosion (‘puff of air’) where the air can be heard passing through the glottis after the release phase. assimilation: a process where one sound is influenced by the characteristics of an adjacent sound. back vowels: vowels where the back part of the tongue is raised (like ‘two’ and ‘tar’) bilabial: a sound that involves contact between the two lips. breathy voice: voice quality where whisper is combined with voicing. cardinal vowels: a set of phonetic vowels used as reference points which do not relate to any specific language. central vowels: vowels where the central part of the tongue is raised (like ‘fur’ and ‘sun’) centring diphthongs: glide towards /ə/. citation form: the way we say a word on its own. close vowel: where the tongue is raised as close as possible to the roof of the mouth. -
The Acoustic Consequences of Phonation and Tone Interactions in Jalapa Mazatec
The acoustic consequences of phonation and tone interactions in Jalapa Mazatec Marc Garellek & Patricia Keating Phonetics Laboratory, Department of Linguistics, UCLA [email protected] San Felipe Jalapa de Dıaz⁄ (Jalapa) Mazatec is unusual in possessing a three-way phonation contrast and three-way level tone contrast independent of phonation. This study investigates the acoustics of how phonation and tone interact in this language, and how such interactions are maintained across variables like speaker sex, vowel timecourse, and presence of aspiration in the onset. Using a large number of words from the recordings of Mazatec made by Paul Kirk and Peter Ladefoged in the 1980s and 1990s, the results of our acoustic and statistical analysis support the claim that spectral measures like H1-H2 and mid- range spectral measures like H1-A2 best distinguish each phonation type, though other measures like Cepstral Peak Prominence are important as well. This is true regardless of tone and speaker sex. The phonation type contrasts are strongest in the first third of the vowel and then weaken towards the end. Although the tone categories remain distinct from one another in terms of F0 throughout the vowel, for laryngealized phonation the tone contrast in F0 is partially lost in the initial third. Consistent with phonological work on languages that cross-classify tone and phonation type (i.e. ‘laryngeally complex’ languages, Silverman 1997), this study shows that the complex orthogonal three-way phonation and tone contrasts do remain acoustically distinct according to the measures studied, despite partial neutralizations in any given measure. 1 Introduction Mazatec is an Otomanguean language of the Popolocan branch. -
Acoustic Correlates and Adult Perceptions of Distress in Infant Speech-Like Vocalizations and Cries
fpsyg-10-01154 May 27, 2019 Time: 17:48 # 1 ORIGINAL RESEARCH published: 29 May 2019 doi: 10.3389/fpsyg.2019.01154 Acoustic Correlates and Adult Perceptions of Distress in Infant Speech-Like Vocalizations and Cries Hyunjoo Yoo1*, Eugene H. Buder2,3, Dale D. Bowman3,4, Gavin M. Bidelman2,3,5 and D. Kimbrough Oller2,3,6 1 Department of Communicative Disorders, The University of Alabama, Tuscaloosa, AL, United States, 2 School of Communication Sciences and Disorders, The University of Memphis, Memphis, TN, United States, 3 Institute for Intelligent Systems, The University of Memphis, Memphis, TN, United States, 4 Department of Mathematical Sciences, The University of Memphis, Memphis, TN, United States, 5 Department of Anatomy and Neurobiology, University of Tennessee Health Science Center, Memphis, TN, United States, 6 Konrad Lorenz Institute for Evolution and Cognition Research, Klosterneuburg, Austria Prior research has not evaluated acoustic features contributing to perception of human infant vocal distress or lack thereof on a continuum. The present research evaluates perception of infant vocalizations along a continuum ranging from the most prototypical intensely distressful cry sounds (“wails”) to the most prototypical of infant sounds that typically express no distress (non-distress “vocants”). Wails are deemed little if at all related to speech while vocants are taken to be clear precursors to speech. We selected prototypical exemplars of utterances representing the whole continuum from 0 and Edited by: 1 month-olds. In this initial