Lecture 4 Phonetics: Vowels
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The Festvox Indic Frontend for Grapheme-To-Phoneme Conversion
The Festvox Indic Frontend for Grapheme-to-Phoneme Conversion Alok Parlikar, Sunayana Sitaram, Andrew Wilkinson and Alan W Black Carnegie Mellon University Pittsburgh, USA aup, ssitaram, aewilkin, [email protected] Abstract Text-to-Speech (TTS) systems convert text into phonetic pronunciations which are then processed by Acoustic Models. TTS frontends typically include text processing, lexical lookup and Grapheme-to-Phoneme (g2p) conversion stages. This paper describes the design and implementation of the Indic frontend, which provides explicit support for many major Indian languages, along with a unified framework with easy extensibility for other Indian languages. The Indic frontend handles many phenomena common to Indian languages such as schwa deletion, contextual nasalization, and voicing. It also handles multi-script synthesis between various Indian-language scripts and English. We describe experiments comparing the quality of TTS systems built using the Indic frontend to grapheme-based systems. While this frontend was designed keeping TTS in mind, it can also be used as a general g2p system for Automatic Speech Recognition. Keywords: speech synthesis, Indian language resources, pronunciation 1. Introduction in models of the spectrum and the prosody. Another prob- lem with this approach is that since each grapheme maps Intelligible and natural-sounding Text-to-Speech to a single “phoneme” in all contexts, this technique does (TTS) systems exist for a number of languages of the world not work well in the case of languages that have pronun- today. However, for low-resource, high-population lan- ciation ambiguities. We refer to this technique as “Raw guages, such as languages of the Indian subcontinent, there Graphemes.” are very few high-quality TTS systems available. -
LINGUISTICS 221 LECTURE #3 the BASIC SOUNDS of ENGLISH 1. STOPS a Stop Consonant Is Produced with a Complete Closure of Airflow
LINGUISTICS 221 LECTURE #3 Introduction to Phonetics and Phonology THE BASIC SOUNDS OF ENGLISH 1. STOPS A stop consonant is produced with a complete closure of airflow in the vocal tract; the air pressure has built up behind the closure; the air rushes out with an explosive sound when released. The term plosive is also used for oral stops. ORAL STOPS: e.g., [b] [t] (= plosives) NASAL STOPS: e.g., [m] [n] (= nasals) There are three phases of stop articulation: i. CLOSING PHASE (approach or shutting phase) The articulators are moving from an open state to a closed state; ii. CLOSURE PHASE (= occlusion) Blockage of the airflow in the oral tract; iii. RELEASE PHASE Sudden reopening; it may be accompanied by a burst of air. ORAL STOPS IN ENGLISH a. BILABIAL STOPS: The blockage is made with the two lips. spot [p] voiceless baby [b] voiced 1 b. ALVEOLAR STOPS: The blade (or the tip) of the tongue makes a closure with the alveolar ridge; the sides of the tongue are along the upper teeth. lamino-alveolar stops or Check your apico-alveolar stops pronunciation! stake [t] voiceless deep [d] voiced c. VELAR STOPS: The closure is between the back of the tongue (= dorsum) and the velum. dorso-velar stops scar [k] voiceless goose [g] voiced 2. NASALS (= nasal stops) The air is stopped in the oral tract, but the velum is lowered so that the airflow can go through the nasal tract. All nasals are voiced. NASALS IN ENGLISH a. BILABIAL NASAL: made [m] b. ALVEOLAR NASAL: need [n] c. -
The Violability of Backness in Retroflex Consonants
The violability of backness in retroflex consonants Paul Boersma University of Amsterdam Silke Hamann ZAS Berlin February 11, 2005 Abstract This paper addresses remarks made by Flemming (2003) to the effect that his analysis of the interaction between retroflexion and vowel backness is superior to that of Hamann (2003b). While Hamann maintained that retroflex articulations are always back, Flemming adduces phonological as well as phonetic evidence to prove that retroflex consonants can be non-back and even front (i.e. palatalised). The present paper, however, shows that the phonetic evidence fails under closer scrutiny. A closer consideration of the phonological evidence shows, by making a principled distinction between articulatory and perceptual drives, that a reanalysis of Flemming’s data in terms of unviolated retroflex backness is not only possible but also simpler with respect to the number of language-specific stipulations. 1 Introduction This paper is a reply to Flemming’s article “The relationship between coronal place and vowel backness” in Phonology 20.3 (2003). In a footnote (p. 342), Flemming states that “a key difference from the present proposal is that Hamann (2003b) employs inviolable articulatory constraints, whereas it is a central thesis of this paper that the constraints relating coronal place to tongue-body backness are violable”. The only such constraint that is violable for Flemming but inviolable for Hamann is the constraint that requires retroflex coronals to be articulated with a back tongue body. Flemming expresses this as the violable constraint RETRO!BACK, or RETRO!BACKCLO if it only requires that the closing phase of a retroflex consonant be articulated with a back tongue body. -
Sociophonetic Variation in Bolivian Quechua Uvular Stops
Title Page Sociophonetic Variation in Bolivian Quechua Uvular Stops by Eva Bacas University of Pittsburgh, 2019 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Bachelor of Philosophy University of Pittsburgh 2019 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Eva Bacas It was defended on November 8, 2019 and approved by Alana DeLoge, Quechua Instructor, Department of Linguistics, University of Pittsburgh Melinda Fricke, Assistant Professor, Department of Linguistics, University of Pittsburgh Gillian Gallagher, Associate Professor, Department of Linguistics, New York University Thesis Advisor/Dissertation Director: Claude Mauk, Senior Lecturer, Department of Linguistics, University of Pittsburgh ii Copyright © by Eva Bacas 2019 iii Abstract Sociophonetic Variation in Bolivian Quechua Uvular Stops Eva Bacas, BPhil University of Pittsburgh, 2019 Quechua is an indigenous language of the Andes region of South America. In Cochabamba, Bolivia, Quechua and Spanish have been in contact for over 500 years. In this thesis, I explore sociolinguistic variation among bilingual speakers of Cochabamba Quechua (CQ) and Spanish by investigating the relationship between the production of the voiceless uvular stop /q/ and speakers’ sociolinguistic backgrounds. I conducted a speech production study and sociolinguistic interview with seven bilingual CQ-Spanish speakers. I analyzed manner of articulation and place of articulation variation. Results indicate that manner of articulation varies primarily due to phonological factors, and place of articulation varies according to sociolinguistic factors. This reveals that among bilingual CQ-Spanish speakers, production of voiceless uvular stop /q/ does vary sociolinguistically. -
Bleaching and Coloring*
386 Bleaching and Coloring* Patricia D. Miller Ohio State University Current studies in natural phonology have dealt with vowels in terms of three cardinal properties: palatality, labiality, and sonority. Palatality and labiality--the chromatic properties--are optimized by a minimally open, maximally constricted vocal tract; and sonority is optimized by a more open vowel tract) Thus the familiar triangle: A or, more exactly a a represents the maximal opposition of the three properties.2 And in many ways, the vowel space does seem to be triangular: ordinarily, the more sonorant a vowel is, the less color it has; and the more chromatic it is--the less sonorant. Thus, while i, e, and m are all palatal, i is more palatal than e, and e is more palatal than m; and, similarly, the degree of rounding varies for u, o, 3. The vowels #, A, and a are colorless or achromatic. They lack both palatality and labiality, and differ only in sonority.3 In this framework, the terms bleaching and coloring are almost self-explanatory: bleaching removes color, and coloring adds color. Bleaching Bleaching may remove palatality or labiality, or both simultaneously: V !lover -Labial !unstressed and/or !lax/short -Palatal] !mixed _(context) Full-scale operation of bleaching will produce linear vowel systems like those of the Caucasian languages reported to have k, A, a. If A lowers, it will produce the system 4, a like that of Kabardian (Kuipers 1960:23 et passim), or that of the child Curt4 (011er forthcoming); or, if all achromatics lower, it will give the single- vowel system, a. -
Phonetics and Phonology in Russian Unstressed Vowel Reduction: a Study in Hyperarticulation
Phonetics and Phonology in Russian Unstressed Vowel Reduction: A Study in Hyperarticulation Jonathan Barnes Boston University (Short title: Hyperarticulating Russian Unstressed Vowels) Jonathan Barnes Department of Modern Foreign Languages and Literatures Boston University 621 Commonwealth Avenue, Room 119 Boston, MA 02215 Tel: (617) 353-6222 Fax: (617) 353-4641 [email protected] Abstract: Unstressed vowel reduction figures centrally in recent literature on the phonetics-phonology interface, in part owing to the possibility of a causal relationship between a phonetic process, duration-dependent undershoot, and the phonological neutralizations observed in systems of unstressed vocalism. Of particular interest in this light has been Russian, traditionally described as exhibiting two distinct phonological reduction patterns, differing both in degree and distribution. This study uses hyperarticulation to investigate the relationship between phonetic duration and reduction in Russian, concluding that these two reduction patterns differ not in degree, but in the level of representation at which they apply. These results are shown to have important consequences not just for theories of vowel reduction, but for other problems in the phonetics-phonology interface as well, incomplete neutralization in particular. Introduction Unstressed vowel reduction has been a subject of intense interest in recent debate concerning the nature of the phonetics-phonology interface. This is the case at least in part due to the existence of two seemingly analogous processes bearing this name, one typically called phonetic, and the other phonological. Phonological unstressed vowel reduction is a phenomenon whereby a given language's full vowel inventory can be realized only in lexically stressed syllables, while in unstressed syllables some number of neutralizations of contrast take place, with the result that only a subset of the inventory is realized on the surface. -
English Phonetic Vowel Shortening and Lengthening As Perceptually Active for the Poles
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Title: English phonetic vowel shortening and lengthening as perceptually active for the Poles Author: Arkadiusz Rojczyk Citation style: Rojczyk Arkadiusz. (2007). English phonetic vowel shortening and lengthening as perceptually active for the Poles. W: J. Arabski (red.), "On foreign language acquisition and effective learning" (S. 237-249). Katowice : Wydawnictwo Uniwersytetu Śląskiego Phonological subsystem English phonetic vowel shortening and lengthening as perceptually active for the Poles Arkadiusz Rojczyk University of Silesia, Katowice 1. Introduction Auditory perception is one of the most thriving and active domains of psy cholinguistics. Recent years have witnessed manifold attempts to investigate and understand how humans perceive linguistic sounds and what principles govern the process. The major assumption underlying the studies on auditory perception is a simple fact that linguistic sounds are means of conveying meaning, encoded by a speaker, to a hearer. The speaker, via articulatory gestures, transmits a message encoded in acoustic waves. This is the hearer, on the other hand, who, using his perceptual apparatus, reads acoustic signals and decodes them into the meaning. Therefore, in phonetic terms, the whole communicative act can be divided into three stages. Articulatory - the speaker encodes the message by sound production. Acoustic - the message is transmitted to the hearer as acous tic waves. Auditory - the hearer perceives sounds and decodes them into the meaning. Each of the three stages is indispensable for effective communication. Of the three aforementioned stages of communication, the auditory percep tion is the least amenable to precise depiction and understanding. -
Lecture 5 Sound Change
An articulatory theory of sound change An articulatory theory of sound change Hypothesis: Most common initial motivation for sound change is the automation of production. Tokens reduced online, are perceived as reduced and represented in the exemplar cluster as reduced. Therefore we expect sound changes to reflect a decrease in gestural magnitude and an increase in gestural overlap. What are some ways to test the articulatory model? The theory makes predictions about what is a possible sound change. These predictions could be tested on a cross-linguistic database. Sound changes that take place in the languages of the world are very similar (Blevins 2004, Bateman 2000, Hajek 1997, Greenberg et al. 1978). We should consider both common and rare changes and try to explain both. Common and rare changes might have different characteristics. Among the properties we could look for are types of phonetic motivation, types of lexical diffusion, gradualness, conditioning environment and resulting segments. Common vs. rare sound change? We need a database that allows us to test hypotheses concerning what types of changes are common and what types are not. A database of sound changes? Most sound changes have occurred in undocumented periods so that we have no record of them. Even in cases with written records, the phonetic interpretation may be unclear. Only a small number of languages have historic records. So any sample of known sound changes would be biased towards those languages. A database of sound changes? Sound changes are known only for some languages of the world: Languages with written histories. Sound changes can be reconstructed by comparing related languages. -
LT3212 Phonetics Assignment 4 Mavis, Wong Chak Yin
LT3212 Phonetics Assignment 4 Mavis, Wong Chak Yin Essay Title: The sound system of Japanese This essay aims to introduce the sound system of Japanese, including the inventories of consonants, vowels, and diphthongs. The phonological variations of the sound segments in different phonetic environments are also included. For the illustration, word examples are given and they are presented in the following format: [IPA] (Romaji: “meaning”). Consonants In Japanese, there are 14 core consonants, and some of them have a lot of allophonic variations. The various types of consonants classified with respect to their manner of articulation are presented as follows. Stop Japanese has six oral stops or plosives, /p b t d k g/, which are classified into three place categories, bilabial, alveolar, and velar, as listed below. In each place category, there is a pair of plosives with the contrast in voicing. /p/ = a voiceless bilabial plosive [p]: [ippai] (ippai: “A cup of”) /b/ = a voiced bilabial plosive [b]: [baɴ] (ban: “Night”) /t/ = a voiceless alveolar plosive [t]: [oto̞ ːto̞ ] (ototo: “Brother”) /d/ = a voiced alveolar plosive [d]: [to̞ mo̞ datɕi] (tomodachi: “Friend”) /k/ = a voiceless velar plosive [k]: [kaiɰa] (kaiwa: “Conversation”) /g/ = a voiced velar plosive [g]: [ɡakɯβsai] (gakusai: “Student”) Phonetically, Japanese also has a glottal stop [ʔ] which is commonly produced to separate the neighboring vowels occurring in different syllables. This phonological phenomenon is known as ‘glottal stop insertion’. The glottal stop may be realized as a pause, which is used to indicate the beginning or the end of an utterance. For instance, the word “Japanese money” is actually pronounced as [ʔe̞ ɴ], instead of [je̞ ɴ], and the pronunciation of “¥15” is [dʑɯβːɡo̞ ʔe̞ ɴ]. -
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. -
Roger Lass the Idea: What Is Schwa?
Stellenbosch Papers in Linguistics, Vol. 15, 1986, 01-30 doi: 10.5774/15-0-95 SPIL 15 (]986) 1 - 30 ON SCHW.A. * Roger Lass The idea: what is schwa? Everybody knows what schwa is or do they? This vene- rable Hebraic equivocation, with its later avatars like "neutral vowel", MUT'melvokaZ, etc. seems to be solidly es tablished in our conceptual and transcriptional armories. Whether it should be is another matter. In its use as a transcriptional symbol, I suggest, it represents a somewhat unsavoury and dispensable collection of theoretical and empirical sloppinesses and ill-advised reifications. It also embodies a major category confusion. That is, [8J is the only "phonetic symbol" that in accepted usage has only "phonological" or functional reference, not (precise) phone tic content. As we will see, there is a good deal to be said against raJ as a symbol for unstressed vowels, though there is often at least a weak excuse for invoking it. But "stressed schwa", prominent in discussions of Afrikaans and English (among other languages) is probably just about inex ·cusable. v Schwa (shwa, shva, se wa , etc.) began life as a device in Hebrew orthography. In "pointed" or "vocalized" script (i.e. where vowels rather than just consonantal skeletons are represented) the symbol ":" under a consonant graph appa rently represented some kind of "overshort" and/or "inde terminate" vowel: something perhaps of the order of a Slavic jeT', but nonhigh and generally neither front nor back though see below. In (Weingreen 1959:9, note b) it is described as,"a quick vowel-like sound", which is "pronounced like 'e' in 'because'''. -
The Sound Patterns of Camuno: Description and Explanation in Evolutionary Phonology
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 The Sound Patterns Of Camuno: Description And Explanation In Evolutionary Phonology Michela Cresci Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/191 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SOUND PATTERNS OF CAMUNO: DESCRIPTION AND EXPLANATION IN EVOLUTIONARY PHONOLOGY by MICHELA CRESCI A dissertation submitted to the Graduate Faculty in Linguistics in partial fulfillment of the requirement for the degree of Doctor of Philosophy, The City Universtiy of New York 2014 i 2014 MICHELA CRESCI All rights reserved ii This manuscript has been read and accepted for the Graduate Faculty in Linguistics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. JULIETTE BLEVINS ____________________ __________________________________ Date Chair of Examining Committee GITA MARTOHARDJONO ____________________ ___________________________________ Date Executive Officer KATHLEEN CURRIE HALL DOUGLAS H. WHALEN GIOVANNI BONFADINI Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract THE SOUND PATTERNS OF CAMUNO: DESCRIPTION AND EXPLANATION IN EVOLUTIONARY PHONOLOGY By Michela Cresci Advisor: Professor Juliette Blevins This dissertation presents a linguistic study of the sound patterns of Camuno framed within Evolutionary Phonology (Blevins, 2004, 2006, to appear). Camuno is a variety of Eastern Lombard, a Romance language of northern Italy, spoken in Valcamonica. Camuno is not a local variety of Italian, but a sister of Italian, a local divergent development of the Latin originally spoken in Italy (Maiden & Perry, 1997, p.