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Intonation Pitch and Stress – a Guide
INTONATION PITCH AND STRESS – A GUIDE Say this sentence aloud and count how many seconds it takes. The beautiful Mountain appeared transfixed in the distance. Time required? Probably about 5 seconds. Now, try speaking this sentence aloud. He can come on Sundays as long as he doesn’t have to do any homework in the evening. Time required? Probably about 5 seconds! Wait a minute the first sentence is much shorter than the second sentence! You are only partially right! This simple exercise makes a very important point about how we speak and use English. Namely, English is considered a stressed language while many other languages are considered syllabic. Some words are given more emphasis and l o n g e r some words are quickly spoken, sometimes ‘eaten!’ Kenneth Beare The Basics : In English speech there are a combination of stressed (strong) and unstressed (weak) syllables. • It was the best car for them to buy. The syllable which is stressed the most is called the nuclear syllable. • It was the best car for them to buy. (Buy is the nuclear syllable.) The nuclear syllable carries the main focus of information. It also carries any new information. • We looked at the hatchback. (Hatchback is new information). • The hatchback was old. (Hatchback is given information. Old is new information). The nuclear syllable sounds louder than the other stressed syllables. It also has a change of pitch. Pitch movements : The two most common pitch movements are: 1. rising pitch yés 2. falling pitch yès Compare these replies: Q: When would it suit you to come? A: Nów? (The intonation expresses a question : would it be OK if I came now?) Q: When would it suit you to come? A: Nòw. -
Downstep and Recursive Phonological Phrases in Bàsàá (Bantu A43) Fatima Hamlaoui ZAS, Berlin; University of Toronto Emmanuel-Moselly Makasso ZAS, Berlin
Chapter 9 Downstep and recursive phonological phrases in Bàsàá (Bantu A43) Fatima Hamlaoui ZAS, Berlin; University of Toronto Emmanuel-Moselly Makasso ZAS, Berlin This paper identifies contexts in which a downstep is realized between consecu- tive H tones in absence of an intervening L tone in Bàsàá (Bantu A43, Cameroon). Based on evidence from simple sentences, we propose that this type of downstep is indicative of recursive prosodic phrasing. In particular, we propose that a down- step occurs between the phonological phrases that are immediately dominated by a maximal phonological phrase (휙max). 1 Introduction In their book on the relation between tone and intonation in African languages, Downing & Rialland (2016) describe the study of downtrends as almost being a field in itself in the field of prosody. In line with the considerable literature on the topic, they offer the following decomposition of downtrends: 1. Declination 2. Downdrift (or ‘automatic downstep’) 3. Downstep (or ‘non-automatic downstep’) 4. Final lowering 5. Register compression/expansion or register lowering/raising Fatima Hamlaoui & Emmanuel-Moselly Makasso. 2019. Downstep and recursive phonological phrases in Bàsàá (Bantu A43). In Emily Clem, Peter Jenks & Hannah Sande (eds.), Theory and description in African Linguistics: Selected papers from the47th Annual Conference on African Linguistics, 155–175. Berlin: Language Science Press. DOI:10.5281/zenodo.3367136 Fatima Hamlaoui & Emmanuel-Moselly Makasso In the present paper, which concentrates on Bàsàá, a Narrow Bantu language (A43 in Guthrie’s classification) spoken in the Centre and Littoral regions of Cameroon by approx. 300,000 speakers (Lewis et al. 2015), we will first briefly define and discuss declination and downdrift, as the language displays bothphe- nomena. -
Pitch Contour Stylization by Marking Voice Intonation
(IJACSA) International Journal of Advanced Computer Science and Applications, Vol. 12, No. 3, 2021 Pitch Contour Stylization by Marking Voice Intonation Sakshi Pandey1, Amit Banerjee2, Subramaniam Khedika3 Computer Science Department South Asian University New Delhi, India Abstract—The stylization of pitch contour is a primary task [10], parabolic [11], and B-splines [12]. In addition, low-pass in the speech prosody for the development of a linguistic model. filtering is also used for preserving the slow time variations The stylization of pitch contour is performed either by statistical in the pitch contours [6]. Recently, researchers have studied learning or statistical analysis. The recent statistical learning the statistical learning models, using hierarchically structured models require a large amount of data for training purposes deep neural networks for modeling the F0 trajectories [13] and and rely on complex machine learning algorithms. Whereas, the sparse coding algorithm based on deep learning auto-encoders statistical analysis methods perform stylization based on the shape of the contour and require further processing to capture the voice [14]. In general, the statistical learning models require a intonations of the speaker. The objective of this paper is to devise large amount of data and uses complex machine learning a low-complexity transcription algorithm for the stylization of algorithms for training purposes [13], [14]. On the other hand, pitch contour based on the voice intonation of a speaker. For the statistical analysis models decompose the pitch contours this, we propose to use of pitch marks as a subset of points as a set of functions based on the shape and structure of for the stylization of the pitch contour. -
Vocal Expression in Recorded Performances of Schubert Songs
Musicae Scientiae © 2007 by ESCOM European Society Fall 2007, Vol XI, n° 2, 000-000 for the Cognitive Sciences of Music Vocal expression in recorded performances of Schubert songs RENEE TIMMERS Nijmegen Institute for Cognition and Information University of Nijmegen •ABSTRACT This exploratory study focuses on the relationship between vocal expression, musical structure, and emotion in recorded performances by famous singers of three Schubert songs. Measurement of variations in tempo, dynamics, and pitch showed highly systematic relationships with the music’s structural and emotional characteristics, particularly as regards emotional activity and valence. Relationships with emotional activity were consistent across both singers and musical pieces, while relationships with emotional valence were piece-specific. Clear changes in performing style over the twentieth century were observed, including diminishing rubato, an increase followed by a decrease of the use of pitch glides, and a widening and slowing of vibrato. These systematic changes over time concern only the style of performance, not the strategies deployed to express the structural and emotional aspects of the music. 1. INTRODUCTION Recordings form a rich source of information about musical performances from the past, and are especially indispensable as a source for histories of performing style (e.g., Philip, 1992; Day, 2000; Fabian, 2003). These investigations have highlighted changes in performance characteristics such as tempo, rubato, or the use of vibrato and glissandi in singing and string performances. For example, a change in attitude towards rubato was observed in the first half of the twentieth century (Philip, 1992; Hudson, 1994; Brown, 1999): tempo fluctuations in recorded performances show a trend related to this change in attitude from frequent tempo changes to smaller and gradual tempo modifications. -
2 Mora and Syllable
2 Mora and Syllable HARUO KUBOZONO 0 Introduction In his classical typological study Trubetzkoy (1969) proposed that natural languages fall into two groups, “mora languages” and “syllable languages,” according to the smallest prosodic unit that is used productively in that lan- guage. Tokyo Japanese is classified as a “mora” language whereas Modern English is supposed to be a “syllable” language. The mora is generally defined as a unit of duration in Japanese (Bloch 1950), where it is used to measure the length of words and utterances. The three words in (1), for example, are felt by native speakers of Tokyo Japanese as having the same length despite the different number of syllables involved. In (1) and the rest of this chapter, mora boundaries are marked by hyphens /-/, whereas syllable boundaries are marked by dots /./. All syllable boundaries are mora boundaries, too, although not vice versa.1 (1) a. to-o-kyo-o “Tokyo” b. a-ma-zo-n “Amazon” too.kyoo a.ma.zon c. a-me-ri-ka “America” a.me.ri.ka The notion of “mora” as defined in (1) is equivalent to what Pike (1947) called a “phonemic syllable,” whereas “syllable” in (1) corresponds to what he referred to as a “phonetic syllable.” Pike’s choice of terminology as well as Trubetzkoy’s classification may be taken as implying that only the mora is relevant in Japanese phonology and morphology. Indeed, the majority of the literature emphasizes the importance of the mora while essentially downplaying the syllable (e.g. Sugito 1989, Poser 1990, Tsujimura 1996b). This symbolizes the importance of the mora in Japanese, but it remains an open question whether the syllable is in fact irrelevant in Japanese and, if not, what role this second unit actually plays in the language. -
Rising) Or Circumflex (Falling) Intonation
Syllables, intonations and Auslautgesetze MIGUEL CARRASQUER VIDAL Syllables and intonations In Greek, long vowels and diphthongs can have acute (rising) or circumflex (falling) intonation. The distinction directly reflects pre-Greek differences in intonation only in oxytone forms, due to the working of a set of accentological laws (the “law of limitation” and the “σωτῆρα”-rule) that make the choice between acute and circumflex automatic in non-final syllables. In Lithuanian, long vowels and diphthongs can also be acute or circumflex, although the acute has become a falling intonation, and the circumflex a rising one. Latvian has a falling intonation (`) corresponding to the Lithuanian circumflex, and two intonations (˜ and ^) corresponding to the Lithuanian acute: the “Dehnton” (˜) implies an originally stressed acute, the “Stoßton” or “broken (glottalized) tone” (^) an originally pretonic acute. In Old Prussian, the distinction is reflected orthographically on diphthongs only (falling/circumflex āi vs. rising/acute aī). In Slavic, the distinction has been neutralized in mobile paradigms (Meillet’s law), but is preserved in original barytones: acute stems remain barytone (a.p. a), while in circumflex (or short) root syllables the stress shifts forward by Dybo’s law (a.p. b). Finally, the Germanic Auslautgesetze also show a distinction in the reflexes of final acute vs. circumflex vowels and diphthongs. Given the above facts, it stands to reason to assign the distinction between rising and falling intonation on long vowels and diphthongs to Proto- Indo-European, or at least to the PIE dialect ancestral to Greek, Balto-Slavic and Germanic. However, a number of problems still remain. (1) the Greek and Balto-Slavic intonations do not always agree; (2) there is controversy over the Balto-Slavic reflexes of certain sequences (e.g. -
EFFECTS of ONLINE ORAL PRACTICE on JAPANESE PITCH ACCENTUATION ACQUISITION Mayu Miyamoto Purdue University
Purdue University Purdue e-Pubs Open Access Theses Theses and Dissertations Spring 2014 EFFECTS OF ONLINE ORAL PRACTICE ON JAPANESE PITCH ACCENTUATION ACQUISITION Mayu Miyamoto Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/open_access_theses Part of the Asian Studies Commons, and the Linguistics Commons Recommended Citation Miyamoto, Mayu, "EFFECTS OF ONLINE ORAL PRACTICE ON JAPANESE PITCH ACCENTUATION ACQUISITION" (2014). Open Access Theses. 223. https://docs.lib.purdue.edu/open_access_theses/223 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Graduate School ETD Form 9 (Revised/) PURDUE UNIVERSITY GRADUATE SCHOOL Thesis/Dissertation Acceptance This is to certify that the thesis/dissertation prepared By Mayu Miyamoto Entitled EFFECTS OF ONLINE ORAL PRACTICE ON JAPANESE PITCH ACCENTUATION ACQUISITION Master of Arts For the degree of Is approved by the final examining committee: Atsushi Fukada Mariko Moroishi Wei April Ginther To the best of my knowledge and as understood by the student in the 7KHVLV'LVVHUWDWLRQ$JUHHPHQW 3XEOLFDWLRQ'HOD\DQGCHUWLILFDWLRQDisclaimer (Graduate School Form ), this thesis/dissertation DGKHUHVWRWKHSURYLVLRQVRIPurdue University’s “Policy on Integrity in Research” and the use of copyrighted material. Atsushi Fukada Approved by Major Professor(s): ____________________________________ ____________________________________ Approved by:Atsushi Fukada 04/22/2014 Head of the 'HSDUWPHQWGraduate Program Date EFFECTS OF ONLINE ORAL PRACTICE ON JAPANESE PITCH ACCENTUATION ACQUISITION A Thesis Submitted to the Faculty of Purdue University by Mayu Miyamoto In Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2014 Purdue University West Lafayette, Indiana ii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my advisor and committee chair, Professor Atsushi Fukada, for his continuous support, encouragement, and advice throughout my career at Purdue University. -
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. -
Vowel Length/ Duration in Geminated and Non-Geminated Arabic Words
=================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 18:4 April 2018 India’s Higher Education Authority UGC Approved List of Journals Serial Number 49042 ================================================================ Vowel Length/ Duration in Geminated and Non-geminated Arabic Words Asmaa Adel Abdulrahman and Dr. L. Ramamoorthy =========================================================== Abstract This paper investigates vowel length in Arabic and how it gets affected by neighboring consonants, in particular when it occurs in geminated or non-geminated phonetic environment in words. The paper examines vowel length before and after geminated and non-geminated consonants. It also focuses on the length of geminated/non-geminated consonants themselves and the proportion between them. The present study also investigates the proportion of vowels to consonants in the words and the proportion of geminated words to their non-geminated counterparts as a whole. Eighteen geminated and non-geminated Arabic words are selected and recorded randomly by the researcher who is a native speaker of Arabic. The data were recorded at the Phonetics Lab of the English and Foreign Languages University in Hyderabad/India. It was concluded that gemination in Arabic affects vowel and consonants as well as total length/ duration of the word as a whole. It is also observed that some vowels/ consonants have greater proportion than their non-geminated counterparts. The whole words were also affected by germination in terms of length and duration. Keywords: Duration, Gemination , Arabic,Vowels, consonants, Acoustic analysis. 1. Introduction Arabic is the mother tongue of over 400 million people. Modern Standard Arabic (MSA) _ the descendant of Classical Arabic branches into 22 vernacular dialects in the 22 Arab countries, each country having its own regional vernacular variety (Humran.A and Shyamala.K.C. -
An Instrumental Study of Vowel Reduction and Stress Placement in Spanish-Accented English
SSLA. 11. 35-62. Printed in the United States of America. -------- -.- AN INSTRUMENTAL STUDY OF VOWEL REDUCTION AND STRESS PLACEMENT IN SPANISH-ACCENTED ENGLISH James Emil Flege Ocke-Schwen Bohn University of Alabama, Birmingham Morphophonological alternations in English words such as able versus ability involve changes in both stress and vowel quality. This study examined how native speakers of Spanish and English produced four such morphologically related English word pairs. Degree of stress and vowel quality was assessed auditorily and instrumentally. Stress placement generally seemed to constitute less of a learning problem for the native Spanish speakers than vowel reduction. The results suggest that Englishlike stress placement is acquired earlier than vowel reduction and that the ability to unstress vowels is a necessary, but not sufficient, condition for vowel reduction. The magnitude of stress and vowel quality differences for the four word pairs suggests that L2 learners acquire stress placement and vowel reduction in English on a word-by-word basis. INTRODUCTION Many second language (12) learners retain a foreign accent long after achieving proficiency in other aspects of 12 production. A foreign accent may result from segmental substitutions of replica for model sounds as well as non-12-like rhythmic, intonational, and stress patterns (Flege, )984). Even though it is generally agreed that This study was supported by NIH grant NS20963-04. The authors would like to thank Sherry Sutphin for fabricating the pseudopalates and for data analysis. ~ 1969 Cambridge Univenity Press OZ7Z·Z63 1/69 $5.00 + .00 3S 36 James Emil Flege and Ocke-Schwen Bohn the use of full instead of reduced vowels in unstressed syllables may contribute impor• tantly to foreign accent and this phenomenon "is extremely typical" (Hammond, 1986) in Spanish-accented English, to our knowledge it has never been examined empirically. -
Mora Alignment and Multiple Foot Types in K'ichee'
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Kentucky University of Kentucky UKnowledge Linguistics Presentations Linguistics 2002 Mora alignment and multiple foot types in K’ichee’ Rusty Barrett University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits oy u. Follow this and additional works at: https://uknowledge.uky.edu/lin_present Part of the Language Description and Documentation Commons Repository Citation Barrett, Rusty, "Mora alignment and multiple foot types in K’ichee’" (2002). Linguistics Presentations. 3. https://uknowledge.uky.edu/lin_present/3 This Presentation is brought to you for free and open access by the Linguistics at UKnowledge. It has been accepted for inclusion in Linguistics Presentations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. Mora alignment and multiple foot types in K’ichee’ Rusty Barrett University of Michigan, Ann Arbor 0. Introduction This paper presents an analysis of the stress system in the Nahualá dialect of K’ichee’ (a Mayan language spoken in Western Guatemala) and discusses the theoretical implications of K’ichee’ stress. In K’ichee’, quantity sensitivity is dependent on position within a word rather than syllable structure. The analysis of K’ichee’ suggests the need for a uniform analysis of foot structure within OT so that stress is always dependent on foot structure rather than syllable structure (with the effects of quantity sensitivity resulting from the equation of a foot with a single syllable). -
Tone, Intonation, Stress and Duration in Navajo
Tone, intonation, stress and duration in Navajo Item Type text; Article Authors Kidder, Emily Publisher University of Arizona Linguistics Circle (Tucson, Arizona) Journal Coyote Papers: Working Papers in Linguistics, Linguistic Theory at the University of Arizona Rights http://rightsstatements.org/vocab/InC/1.0/ Download date 25/09/2021 21:50:14 Item License Copyright © is held by the author(s). Link to Item http://hdl.handle.net/10150/126405 Tone, Intonation, Stress and Duration in Navajo Emily Kidder University of Arizona Abstract 1 Introduction The phonological categories of tone, stress, duration and intonation interact in interesting and complex ways in the world’s languages. One reason for this is that they all use the phonetic cues of pitch and duration in different ways in order to be understood as phonologically meaningful. The Navajo language has unique prosodic characteristics that make it particularly valuable for the study of how pitch and duration interact on a phonological level. Navajo is a tonal language, and also has phonemic length, however, the existence of prosodic elements such as intonation and stress have been a matter of debate among scholars (De Jong and McDonough, 1993; McDonough, 1999). In- tonation has been assumed to be a universal characteristic, present in tonal and non-tonal languages alike, though evidence to the contrary has been pre- sented (Connell and Ladd, 1990; Laniran, 1992; McDonough, 2002). Stress or accent is similarly thought to be a manifested on some level in all lan- guages, even when it is not used contrastively (Hayes, 1995). In this paper I explore the evidence available for whether or not stress and intonation exists in Navajo.