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Ein Rhythmisch-Prosodisches Modell Lyrischen Sprechstils

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Ein Rhythmisch-Prosodisches Modell Lyrischen Sprechstils Ein rhythmisch-prosodisches Modell lyrischen Sprechstils Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn vorgelegt von Jörg Bröggelwirth aus Paderborn in Westfalen Bonn, 2007 Gedruckt mit der Genehmigung der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität Bonn Zusammensetzung der Prüfungskommission: PD Dr. Bernhard Schröder (Vorsitzender) Prof. Dr. Wolfgang Hess (Betreuer und Gutachter) Prof. Dr. Winfried Lenders (Gutachter) Prof. Dr. Jürgen Esser (Weiteres prüfungsberechtigtes Mitglied) Tag der mündlichen Prüfung: 8. 6. 2007 Diese Dissertation ist auf dem Hochschulschriftenserver der ULB Bonn http://hss.ulb.uni-bonn.de/diss_online elektronisch publiziert „freilich ist die Poesie nicht für das Auge bestimmt“ (Johann Wolfgang von Goethe) Ich möchte mich bei den folgenden Personen bedanken: Valeska Maus, Christian Aretz, Annegret Steudner, Barbara Samlowski und Arne Bachmann für ihre umfangreiche Arbeit am Lyrik-Korpus, den Sprechern und Hörern für ihre Geduld und Anstrengung, Dr. Rüdiger von Tiedemann für seine Hilfe bei der Textauswahl, Prof. Dr. Wolfgang Hess für die Betreuung, Dr. Petra Wagner für die stets aufschlussreichen Diskussionen und Anregungen und meinen Eltern Elisabeth und Erich für ihren Rückhalt! Inhaltsverzeichnis 1 Einleitung ………………………………………………………………………………..... 1 2 Zum Sprechrhythmus …………………………………………………………………....... 4 2.1 Isochronie ……………………………………………………………………...... 4 2.2 Akustische Korrelate des Sprechrhythmus …………………………………....... 6 2.3 Perzeption von Sprechrhythmus ……………………………………………........ 9 2.4 Sprechrhythmus und Lyrik …………………………………………………….. 16 2.4.1 Motivation …………………………………………………………… 17 2.4.2 Ergebnisse ………………………………………………………........ 18 2.5 Fazit ……………………………………………………………………………. 22 3 Zum Begriff der Prosodie .....…………………………………………………………..... 23 3.1 Definierbarkeit ………..……………………………………………………….. 23 3.2 Funktion ……………………………………………………………………….. 24 3.3 Fazit ……………………………………………………………………………. 25 4 Lyrik und Metrik ………………………………………………………………………… 26 5 Korpuserstellung ………………………………………………………………………… 29 5.1 Textauswahl ……………………………………………………………….…... 29 5.2 Aufnahme ……………………………………………………………………… 30 5.3 Annotation ……………..………………………………………………………. 31 5.3.1 GToBI-Etikettierung …………………………………………………. 33 5.4 Zusammenfassung ……………………………………………………………... 35 6 Datenanalyse ……..……………………………………………………………………… 36 6.1 Dauerphänomene …...………………………………………………………….. 36 6.1.1 Silbendauern ..………………………………………………………... 37 6.1.2 Fußdauern …..………………………………………………………... 41 6.1.3 Die Dauerrelation unakzentuiert zu akzentuiert ..………………….… 49 6.1.4 Phrasen- und Versdauern …...……………………………………...… 50 6.1.5 Zusammenfassung …..……………………………………………….. 51 6.2 Intonationsphänomene …..…………………………………………………….. 52 6.2.1 Höhe der Grundfrequenz …..……………………………………........ 52 6.2.2 Phonologische Beschreibung der Intonation …..………….................. 54 6.2.3 Zusammenfassung …..……………………………………………….. 59 7 Rhythmisch-prosodische Modelle …..…………………………………………………... 60 7.1 Dauermodelle …..……………………………………………………………… 60 7.1.1 Lineare Regression …..…………………………………………….… 60 7.1.2 Silbendauern bei isochronen Fußdauern …..………………………… 66 7.2 Intonationsmodell ...……………………………………………………………. 68 7.3 Zusammenfassung …...……………………………………………………….... 70 8 Evaluation der Dauermodelle …...……………………………………………………….. 72 8.1 Verfahren der perzeptiven Beurteilung von Sprachstimuli ...………………….. 72 I 8.1.1 Der Faktor Mensch ..…………………………………………………. 73 8.1.2 Testmethoden ..………………………………………………………. 74 8.1.3 Diskussion …..……………………………………………………….. 76 8.2 Delexikalisierung ..…………………………………………………….………. 77 8.3 Modellevaluation …..…………………………………………………………... 80 8.3.1 Ergebnisse der Lyrik/Prosa Unterscheidung bei delexikalisierten Stimuli …..…………………………………………………………… 85 8.3.2 Ergebnisse der Lyrik/Prosa Unterscheidung bei nicht-delexikalisierten Stimuli …..………………………………………………………..….. 89 8.3.3 Ergebnisse der Rhythmuserkennung bei delexikalisierten Stimuli ….. 93 8.3.4 Zusammenfassung …..……………………………………………… 100 9 Abschließende Zusammenfassung und Ausblick …..………………………………….. 103 Literatur …...……………………………………………………………………………….. 109 Anhänge …..……………………………………………………………………………….. 115 II 1 Einleitung Der sprachliche Rhythmus erfüllt Funktionen im Bereich Gliederung und Hervorhebung auf allen linguistischen Ebenen. Silben- und Wortgrenzen sowie Wortbetonungen werden durch ihn markiert, syntaktische Phrasen und semantisch zusammengehörige Einheiten werden rhythmisch gegliedert. Ohne diese rhythmische Gliederung wäre der Sprachwahrnehmungsprozess sicherlich um einiges erschwert. Neben der direkten Beziehung zwischen Rhythmus und linguistischen Einheiten existieren ferner situationsspezifische Rhythmen, welche mit einem bestimmten Sprechstil verknüpft sind. So hat schnelle Sprache vermutlich einen anderen Rhythmus als langsame, eine Predigt wiederum einen anderen Rhythmus als ein Fußballkommentar. Welche Rolle der Sprechrhythmus auf den einzelnen linguistischen und paralinguistischen Ebenen im Detail spielt, ist jedoch noch weitestgehend ungeklärt. Eine relativ große Übereinstimmung besteht in der Meinung, dass es auch sprachspezifische rhythmische Unterschiede gibt, genauer gesagt gibt es die Annahme, dass sich Sprachen in so genannte akzentzählende und silbenzählende Sprachen unterteilen. Überdies ist der Sprechrhythmus für die Sprachsynthese, d.h. den sprechenden Computer, von Bedeutung. Die häufigste Anwendung in diesem Bereich ist die Überführung von Text in ein entsprechendes Sprachsignal (Text-To-Speech). Auch in den neueren korpusbasierten Synthesesystemen ist eine ausgefeilte Prosodieprädiktion unerlässlich. Diese Vorhersage ist in den meisten Fällen jedoch noch verbesserungswürdig. Leider zielen TTS- Sprachsynthesesysteme im Allgemeinen ausschließlich auf eine prosaische Textdomäne ab, so dass spezielle Domänen, wie etwa die Lyrik, außer Acht gelassen werden. Die vorliegende Arbeit wird unter anderem dadurch motiviert, dass die Grundlagen für eine Erweiterung der Textdomäne von TTS-Systemen um das Feld der Lyrik mit festgelegtem Metrum fehlen und somit erst noch geschaffen werden müssen. Der prominente Rhythmus von Lyrik mit festgelegtem Metrum soll dabei in zwei Dauermodellen abgebildet werden. Es wird angenommen, dass Rückschlüsse von der Rhythmizität der Lyrik im Deutschen auf die deutsche Sprache allgemein möglich sind. Kapitel 2 gibt einen Überblick über den aktuellen Stand der Forschung im Bereich Sprechrhythmus mit besonderer Berücksichtigung von Rhythmus und Lyrik. Die Darlegungen umfassen etwa den Zeitraum der letzten 60 Jahre. Der größte Teil der 1 skizzierten Arbeiten befasst sich dabei mit der zeitlichen Struktur des Sprechrhythmus. Der Bericht zeigt jedoch auf, dass bezüglich Rhythmus auch intonatorische, ja sogar segmentale Phänomene eine Rolle spielen. Die an dieser Stelle gemachten Skizzierungen unterstreichen die Vielfältigkeit der verschiedenen Ansätze in der Sprechrhythmusforschung, sowohl auf akustischer als auch perzeptiver Ebene. Das Kapitel 3 diskutiert kurz den Begriff der Prosodie, da Prosodie und Sprechrhythmus eng miteinander verknüpft sind. Vor allem der Parameter der Dauer ist hier als bedeutend anzuführen. Es werden die Definierbarkeit und die Funktion von Prosodie erläutert. Im Kapitel 4 dieser Arbeit wird der literaturwissenschaftliche Begriff der Metrik in der Lyrik erörtert. Es wird insbesondere Bezug auf verschiedene Versmaße und rhythmische Prinzipien genommen. Zudem wird kurz der Aufbau und die Struktur eines Verses skizziert. Das Kapitel 5 befasst sich mit der Erstellung eines Korpus deutscher Lyrik. Es wird vor allem diskutiert, welche Texte aus welchem Grund ausgewählt wurden. Darüber hinaus wird die Wahl der Sprecher näher erläutert. Schließlich wird das Thema der Korpusannotation behandelt. Der Etikettierformalismus GToBI für die Intonation des Deutschen wird hier besonders ausführlich dargestellt. Im Kapitel 6 wird die Analyse des umfangreichen Korpus erörtert. Es werden vor allem Statistiken über die prosodischen Parameter von Intonation und Dauer dargelegt. Im Fokus der Analyse stehen vor allem Dauern auf den linguistischen Ebenen von Silbe, Fuß und Phrase bzw. Vers. Das Kapitel 7 der vorliegenden Arbeit stellt die Modellbildung von Silbendauern im lyrischen Sprechstil vor. Es werden dabei die beiden unterschiedlichen Ansätze der linearen Regression und der Fußisochronie verfolgt. Ersteres Modell prädiziert dabei Silbendauern, die durch eine lineare Regression berechnet werden, letzteres Modell geht von einer konstanten Dauer eines Fußes aus und berechnet so die Dauern der im Fuß beinhalteten akzentuierten und nichtakzentuierten Silben. Darüber hinaus wird eine GToBI-Beschreibung der Intonation von Silben im Korpus angeführt. 2 Im Kapitel 8 werden schließlich die beiden verschiedenen Ansätze der Dauermodellierung bezüglich ihrer rhythmischen Diskriminationsleistung geprüft. In drei Perzeptionstests wird den Hörern eine Sprechstilunterscheidung sowie eine Unterscheidung verschiedener Metren abverlangt. Hierbei sind gezielt manipulierte Stimuli verwandt worden. In Kapitel 9 werden die verschiedenen Analyse- und Testergebnisse abschließend zusammengefasst und diskutiert. Dabei wird auch versucht, ungelöste Probleme der vorliegenden Arbeit von verschiedenen Seiten zu beleuchten. Zudem wird ein Ausblick auf künftige Arbeiten gegeben. 3 2 Zum Sprechrhythmus In diesem Kapitel wird der aktuelle Stand der Sprechrhythmusforschung näher erörtert. Die Darlegungen reichen von der Isochroniehypothese aus der Mitte
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