Automatic Pronunciation Assessment -- A Review

Pronunciation assessment and its application in computer-aided pronunciation training (CAPT) have seen impressive progress in recent years. With the rapid growth in language processing and deep learning over the past few years, there is a need for an updated review. In this paper, we review methods employed in pronunciation assessment for both phonemic and prosodic. We categorize the main challenges observed in prominent research trends, and highlight existing limitations, and available resources. This is followed by a discussion of the remaining challenges and possible directions for future work.Comment: 9 pages, accepted to EMNLP Finding

Self-imitating Feedback Generation Using GAN for Computer-Assisted Pronunciation Training

Self-imitating feedback is an effective and learner-friendly method for non-native learners in Computer-Assisted Pronunciation Training. Acoustic characteristics in native utterances are extracted and transplanted onto learner's own speech input, and given back to the learner as a corrective feedback. Previous works focused on speech conversion using prosodic transplantation techniques based on PSOLA algorithm. Motivated by the visual differences found in spectrograms of native and non-native speeches, we investigated applying GAN to generate self-imitating feedback by utilizing generator's ability through adversarial training. Because this mapping is highly under-constrained, we also adopt cycle consistency loss to encourage the output to preserve the global structure, which is shared by native and non-native utterances. Trained on 97,200 spectrogram images of short utterances produced by native and non-native speakers of Korean, the generator is able to successfully transform the non-native spectrogram input to a spectrogram with properties of self-imitating feedback. Furthermore, the transformed spectrogram shows segmental corrections that cannot be obtained by prosodic transplantation. Perceptual test comparing the self-imitating and correcting abilities of our method with the baseline PSOLA method shows that the generative approach with cycle consistency loss is promising

Chinese Tones: Can You Listen With Your Eyes?:The Influence of Visual Information on Auditory Perception of Chinese Tones

CHINESE TONES: CAN YOU LISTEN WITH YOUR EYES? The Influence of Visual Information on Auditory Perception of Chinese Tones YUEQIAO HAN Summary Considering the fact that more than half of the languages spoken in the world (60%-70%) are so-called tone languages (Yip, 2002), and tone is notoriously difficult to learn for westerners, this dissertation focused on tone perception in Mandarin Chinese by tone-naïve speakers. Moreover, it has been shown that speech perception is more than just an auditory phenomenon, especially in situations when the speaker’s face is visible. Therefore, the aim of this dissertation is to also study the value of visual information (over and above that of acoustic information) in Mandarin tone perception for tone-naïve perceivers, in combination with other contextual (such as speaking style) and individual factors (such as musical background). Consequently, this dissertation assesses the relative strength of acoustic and visual information in tone perception and tone classification. In the first two empirical and exploratory studies in Chapter 2 and 3 , we set out to investigate to what extent tone-naïve perceivers are able to identify Mandarin Chinese tones in isolated words, and whether or not they can benefit from (seeing) the speakers’ face, and what the contribution is of a hyperarticulated speaking style, and/or their own musical experience. Respectively, in Chapter 2 we investigated the effect of visual cues (comparing audio-only with audio-visual presentations) and speaking style (comparing a natural speaking style with a teaching speaking style) on the perception of Mandarin tones by tone-naïve listeners, looking both at the relative strength of these two factors and their possible interactions; Chapter 3 was concerned with the effects of musicality of the participants (combined with modality) on Mandarin tone perception. In both of these studies, a Mandarin Chinese tone identification experiment was conducted: native speakers of a non-tonal language were asked to distinguish Mandarin Chinese tones based on audio (-only) or video (audio-visual) materials. In order to include variations, the experimental stimuli were recorded using four different speakers in imagined natural and teaching speaking scenarios. The proportion of correct responses (and average reaction times) of the participants were reported. The tone identification experiment presented in Chapter 2 showed that the video conditions (audio-visual natural and audio-visual teaching) resulted in an overall higher accuracy in tone perception than the auditory-only conditions (audio-only natural and audio-only teaching), but no better performance was observed in the audio-visual conditions in terms of reaction time, compared to the auditory-only conditions. Teaching style turned out to make no difference on the speed or accuracy of Mandarin tone perception (as compared to a natural speaking style). Further on, we presented the same experimental materials and procedure in Chapter 3 , but now with musicians and non-musicians as participants. The Goldsmith Musical Sophistication Index (Gold-MSI) was used to assess the musical aptitude of the participants. The data showed that overall, musicians outperformed non-musicians in the tone identification task in both auditory-visual and auditory-only conditions. Both groups identified tones more accurately in the auditory-visual conditions than in the auditory-only conditions. These results provided further evidence for the view that the availability of visual cues along with auditory information is useful for people who have no knowledge of Mandarin Chinese tones when they need to learn to identify these tones. Out of all the musical skills measured by Gold-MSI, the amount of musical training was the only predictor that had an impact on the accuracy of Mandarin tone perception. These findings suggest that learning to perceive Mandarin tones benefits from musical expertise, and visual information can facilitate Mandarin tone identification, but mainly for tone-naïve non-musicians. In addition, performance differed by tone: musicality improves accuracy for every tone; some tones are easier to identify than others: in particular, the identification of tone 3 (a low-falling-rising) proved to be the easiest, while tone 4 (a high-falling tone) was the most difficult to identify for all participants. The results of the first two experiments presented in chapters 2 and 3 showed that adding visual cues to clear auditory information facilitated the tone identification for tone-naïve perceivers (there is a significantly higher accuracy in audio-visual condition(s) than in auditory-only condition(s)). This visual facilitation was unaffected by the presence of (hyperarticulated) speaking style or the musical skill of the participants. Moreover, variations in speakers and tones had effects on the accurate identification of Mandarin tones by tone-naïve perceivers. In Chapter 4 , we compared the relative contribution of auditory and visual information during Mandarin Chinese tone perception. More specifically, we aimed to answer two questions: firstly, whether or not there is audio-visual integration at the tone level (i.e., we explored perceptual fusion between auditory and visual information). Secondly, we studied how visual information affects tone perception for native speakers and non-native (tone-naïve) speakers. To do this, we constructed various tone combinations of congruent (e.g., an auditory tone 1 paired with a visual tone 1, written as AxVx) and incongruent (e.g., an auditory tone 1 paired with a visual tone 2, written as AxVy) auditory-visual materials and presented them to native speakers of Mandarin Chinese and speakers of tone-naïve languages. Accuracy, defined as the percentage correct identification of a tone based on its auditory realization, was reported. When comparing the relative contribution of auditory and visual information during Mandarin Chinese tone perception with congruent and incongruent auditory and visual Chinese material for native speakers of Chinese and non-tonal languages, we found that visual information did not significantly contribute to the tone identification for native speakers of Mandarin Chinese. When there is a discrepancy between visual cues and acoustic information, (native and tone-naïve) participants tend to rely more on the auditory input than on the visual cues. Unlike the native speakers of Mandarin Chinese, tone-naïve participants were significantly influenced by the visual information during their auditory-visual integration, and they identified tones more accurately in congruent stimuli than in incongruent stimuli. In line with our previous work, the tone confusion matrix showed that tone identification varies with individual tones, with tone 3 (the low-dipping tone) being the easiest one to identify, whereas tone 4 (the high-falling tone) was the most difficult one. The results did not show evidence for auditory-visual integration among native participants, while visual information was helpful for tone-naïve participants. However, even for this group, visual information only marginally increased the accuracy in the tone identification task, and this increase depended on the tone in question. Chapter 5 is another chapter that zooms in on the relative strength of auditory and visual information for tone-naïve perceivers, but from the aspect of tone classification. In this chapter, we studied the acoustic and visual features of the tones produced by native speakers of Mandarin Chinese. Computational models based on acoustic features, visual features and acoustic-visual features were constructed to automatically classify Mandarin tones. Moreover, this study examined what perceivers pick up (perception) from what a speaker does (production, facial expression) by studying both production and perception. To be more specific, this chapter set out to answer: (1) which acoustic and visual features of tones produced by native speakers could be used to automatically classify Mandarin tones. Furthermore, (2) whether or not the features used in tone production are similar to or different from the ones that have cue value for tone-naïve perceivers when they categorize tones; and (3) whether and how visual information (i.e., facial expression and facial pose) contributes to the classification of Mandarin tones over and above the information provided by the acoustic signal. To address these questions, the stimuli that had been recorded (and described in chapter 2) and the response data that had been collected (and reported on in chapter 3) were used. Basic acoustic and visual features were extracted. Based on them, we used Random Forest classification to identify the most important acoustic and visual features for classifying the tones. The classifiers were trained on produced tone classification (given a set of auditory and visual features, predict the produced tone) and on perceived/responded tone classification (given a set of features, predict the corresponding tone as identified by the participant). The results showed that acoustic features outperformed visual features for tone classification, both for the classification of the produced and the perceived tone. However, tone-naïve perceivers did revert to the use of visual information in certain cases (when they gave wrong responses). So, visual information does not seem to play a significant role in native speakers’ tone production, but tone-naïve perceivers do sometimes consider visual information in their tone identification. These findings provided additional evidence that auditory information is more important than visual information in Mandarin tone perception and tone classification. Notably, visual features contributed to the participants’ erroneous performance. This suggests that visual information actually misled tone-naïve perceivers in their task of tone identification. To some extent, this is consistent with our claim that visual cues do influence tone perception. In addition, the ranking of the auditory features and visual features in tone perception showed that the factor perceiver (i.e., the participant) was responsible for the largest amount of variance explained in the responses by our tone-naïve participants, indicating the importance of individual differences in tone perception. To sum up, perceivers who do not have tone in their language background tend to make use of visual cues from the speakers’ faces for their perception of unknown tones (Mandarin Chinese in this dissertation), in addition to the auditory information they clearly also use. However, auditory cues are still the primary source they rely on. There is a consistent finding across the studies that the variations between tones, speakers and participants have an effect on the accuracy of tone identification for tone-naïve speaker

Analyzing Prosody with Legendre Polynomial Coefficients

This investigation demonstrates the effectiveness of Legendre polynomial coefficients representing prosodic contours within the context of two different tasks: nativeness classification and sarcasm detection. By making use of accurate representations of prosodic contours to answer fundamental linguistic questions, we contribute significantly to the body of research focused on analyzing prosody in linguistics as well as modeling prosody for machine learning tasks. Using Legendre polynomial coefficient representations of prosodic contours, we answer prosodic questions about differences in prosody between native English speakers and non-native English speakers whose first language is Mandarin. We also learn more about prosodic qualities of sarcastic speech. We additionally perform machine learning classification for both tasks, (achieving an accuracy of 72.3% for nativeness classification, and achieving 81.57% for sarcasm detection). We recommend that linguists looking to analyze prosodic contours make use of Legendre polynomial coefficients modeling; the accuracy and quality of the resulting prosodic contour representations makes them highly interpretable for linguistic analysis

Rapid Extraction of Lexical Tone Phonology in Chinese Characters: A Visual Mismatch Negativity Study

Background: In alphabetic languages, emerging evidence from behavioral and neuroimaging studies shows the rapid and automatic activation of phonological information in visual word recognition. In the mapping from orthography to phonology, unlike most alphabetic languages in which there is a natural correspondence between the visual and phonological forms, in logographic Chinese, the mapping between visual and phonological forms is rather arbitrary and depends on learning and experience. The issue of whether the phonological information is rapidly and automatically extracted in Chinese characters by the brain has not yet been thoroughly addressed. Methodology/Principal Findings We continuously presented Chinese characters differing in orthography and meaning to adult native Mandarin Chinese speakers to construct a constant varying visual stream. In the stream, most stimuli were homophones of Chinese characters: The phonological features embedded in these visual characters were the same, including consonants, vowels and the lexical tone. Occasionally, the rule of phonology was randomly violated by characters whose phonological features differed in the lexical tone. Conclusions/Significance: We showed that the violation of the lexical tone phonology evoked an early, robust visual response, as revealed by whole-head electrical recordings of the visual mismatch negativity (vMMN), indicating the rapid extraction of phonological information embedded in Chinese characters. Source analysis revealed that the vMMN was involved in neural activations of the visual cortex, suggesting that the visual sensory memory is sensitive to phonological information embedded in visual words at an early processing stage

Rapid neural processing of grammatical tone in second language learners

The present dissertation investigates how beginner learners process grammatical tone in a second language and whether their processing is influenced by phonological transfer. Paper I focuses on the acquisition of Swedish grammatical tone by beginner learners from a non-tonal language, German. Results show that non-tonal beginner learners do not process the grammatical regularities of the tones but rather treat them akin to piano tones. A rightwards-going spread of activity in response to pitch difference in Swedish tones possibly indicates a process of tone sensitisation. Papers II to IV investigate how artificial grammatical tone, taught in a word-picture association paradigm, is acquired by German and Swedish learners. The results of paper II show that interspersed mismatches between grammatical tone and picture referents evoke an N400 only for the Swedish learners. Both learner groups produce N400 responses to picture mismatches related to grammatically meaningful vowel changes. While mismatch detection quickly reaches high accuracy rates, tone mismatches are least accurately and most slowly detected in both learner groups. For processing of the grammatical L2 words outside of mismatch contexts, the results of paper III reveal early, preconscious and late, conscious processing in the Swedish learner group within 20 minutes of acquisition (word recognition component, ELAN, LAN, P600). German learners only produce late responses: a P600 within 20 minutes and a LAN after sleep consolidation. The surprisingly rapid emergence of early grammatical ERP components (ELAN, LAN) is attributed to less resource-heavy processing outside of violation contexts. Results of paper IV, finally, indicate that memory trace formation, as visible in the word recognition component at ~50 ms, is only possible at the highest level of formal and functional similarity, that is, for words with falling tone in Swedish participants. Together, the findings emphasise the importance of phonological transfer in the initial stages of second language acquisition and suggest that the earlier the processing, the more important the impact of phonological transfer

Pitch perception and production in congenital amusia: evidence from Cantonese speakers

This study investigated pitch perception and production in speech and music in individuals with congenital amusia (a disorder of musical pitch processing) who are native speakers of Cantonese, a tone language with a highly complex tonal system. Sixteen Cantonese-speaking congenital amusics and 16 controls performed a set of lexical tone perception, production, singing, and psychophysical pitch threshold tasks. Their tone production accuracy and singing proficiency were subsequently judged by independent listeners, and subjected to acoustic analyses. Relative to controls, amusics showed impaired discrimination of lexical tones in both speech and non-speech conditions. They also received lower ratings for singing proficiency, producing larger pitch interval deviations and making more pitch interval errors compared to controls. Demonstrating higher pitch direction identification thresholds than controls for both speech syllables and piano tones, amusics nevertheless produced native lexical tones with comparable pitch heights/contours and intelligibility as controls. Significant correlations were found between pitch threshold and lexical tone perception, music perception and production, but not between lexical tone perception and production for amusics. These findings provide further evidence that congenital amusia is domain-general language-independent pitch-processing deficit that is associated with severely impaired music perception and production, mildly impaired speech perception, and largely intact speech production

Investigating spoken emotion : the interplay of language and facial expression

This thesis aims to investigate how spoken expressions of emotions are influenced by the characteristics of spoken language and the facial emotion expression. The first three chapters examined how production and perception of emotions differed between Cantonese (tone language) and English (non-tone language). The rationale for this contrast was that the acoustic property of Fundamental Frequency (F0) may be used differently in the production and perception of spoken expressions in tone languages as F0 may be preserved as a linguistic resource for the production of lexical tones. To test this idea, I first developed the Cantonese Audio-visual Emotional Speech (CAVES) database, which was then used as stimuli in all the studies presented in this thesis (Chapter 1). An emotion perception study was then conducted to examine how three groups of participants (Australian English, Malaysian Malay and Hong Kong Cantonese speakers) identified spoken expression of emotions that were produced in either English or Cantonese (Chapter 2). As one of the aims of this study was to disambiguate the effects of language from culture, these participants were selected on the basis that they either shared similarities in language type (non-tone language, Malay and English) or culture (collectivist culture, Cantonese and Malay). The results showed that a greater similarity in emotion perception was observed between those who spoke a similar type of language, as opposed to those who shared a similar culture. This suggests some intergroup differences in emotion perception may be attributable to cross-language differences. Following up on these findings, an acoustic analysis study (Chapter 3) showed that compared to English spoken expression of emotions, Cantonese expressions had less F0 related cues (median and flatter F0 contour) and also the use of F0 cues was different. Taken together, these results show that language characteristics (n F0 usage) interact with the production and perception of spoken expression of emotions. The expression of disgust was used to investigate how facial expressions of emotions affect speech articulation. The rationale for selecting disgust was that the facial expression of disgust involves changes to the mouth region such as closure and retraction of the lips, and these changes are likely to have an impact on speech articulation. To test this idea, an automatic lip segmentation and measurement algorithm was developed to quantify the configuration of the lips from images (Chapter 5). By comparing neutral to disgust expressive speech, the results showed that disgust expressive speech is produced with significantly smaller vertical mouth opening, greater horizontal mouth opening and lower first and second formant frequencies (F1 and F2). Overall, this thesis provides an insight into how aspects of expressive speech may be shaped by specific (language type) and universal (face emotion expression) factors