Acoustic correlates of encoded prosody in written conversation

This thesis presents an analysis of certain punctuation devices such as parenthesis, italics and emphatic spellings with respect to their acoustic correlates in read speech. The class of punctuation devices under investigation are referred to as prosodic markers. The thesis therefore presents an analysis of features of the spoken language which are represented symbolically in text. Hence it is a characterization of aspects of the spoken language which have been transcribed or symbolized in the written medium and then translated back into a spoken form by a reader. The thesis focuses in particular on the analysis of parenthesis, the examination of encoded prominence and emphasis, and also addresses the use of paralinguistic markers which signal attitude or emotion.In an effort to avoid the use of self constructed or artificial material containing arbitrary symbolic or prosodic encodings, all material used for empirical analysis was taken from examples of electronic written exchanges on the Internet, such as from electronic mail messages and from articles posted on electronic newsgroups and news bulletins. This medium of language, which is referred to here as written conversation, provides a rich source of material containing encoded prosodic markers. These occur in the form of 'smiley faces' expressing attitudes or feelings, words highlighted by a number of means such as capitalization, italics, underscore characters, or asterisks, and in the form of dashes or parentheses, which provide suggestions on how the information in a text or sentence may be structured with regard to its informational content.Chapter 2 investigates in detail the genre of written conversation with respect to its place in an emerging continuum between written and spoken language, concentrating on transcriptional devices and their function as indicators of prosody. The implications these symbolic representations bear on the task of reading, by humans as well as machines, are then examined.Chapters 3 and 4 turn to the acoustic analysis of parentheticals and emphasis markers respectively. The experimental work in this thesis is based on readings of a corpus of selected materials from written conversation with the acoustic analysis concentrating on the differences between readings of texts with prosodic markers and readings of the same texts from which prosodic markers have been removed. Finally, the effect of prosodic markers is tested in perception experiments involving both human and resynthesized utterances

Specifying Intonation From Context for Speech Synthesis

This paper presents a theory and a computational implementation for generating prosodically appropriate synthetic speech in response to database queries. Proper distinctions of contrast and emphasis are expressed in an intonation contour that is synthesized by rule under the control of a grammar, a discourse model, and a knowledge base. The theory is based on Combinatory Categorial Grammar, a formalism which easily integrates the notions of syntactic constituency, semantics, prosodic phrasing and information structure. Results from our current implementation demonstrate the system\u27s ability to generate a variety of intonational possibilities for a given sentence depending on the discourse context

Generating Tailored, Comparative Descriptions with Contextually Appropriate Intonation

Generating responses that take user preferences into account requires adaptation at all levels of the generation process. This article describes a multi-level approach to presenting user-tailored information in spoken dialogues which brings together for the first time multi-attribute decision models, strategic content planning, surface realization that incorporates prosody prediction, and unit selection synthesis that takes the resulting prosodic structure into account. The system selects the most important options to mention and the attributes that are most relevant to choosing between them, based on the user model. Multiple options are selected when each offers a compelling trade-off. To convey these trade-offs, the system employs a novel presentation strategy which straightforwardly lends itself to the determination of information structure, as well as the contents of referring expressions. During surface realization, the prosodic structure is derived from the information structure using Combinatory Categorial Grammar in a way that allows phrase boundaries to be determined in a flexible, data-driven fashion. This approach to choosing pitch accents and edge tones is shown to yield prosodic structures with significantly higher acceptability than baseline prosody prediction models in an expert evaluation. These prosodic structures are then shown to enable perceptibly more natural synthesis using a unit selection voice that aims to produce the target tunes, in comparison to two baseline synthetic voices. An expert evaluation and f0 analysis confirm the superiority of the generator-driven intonation and its contribution to listeners' ratings

Cue Phrase Classification Using Machine Learning

Cue phrases may be used in a discourse sense to explicitly signal discourse structure, but also in a sentential sense to convey semantic rather than structural information. Correctly classifying cue phrases as discourse or sentential is critical in natural language processing systems that exploit discourse structure, e.g., for performing tasks such as anaphora resolution and plan recognition. This paper explores the use of machine learning for classifying cue phrases as discourse or sentential. Two machine learning programs (Cgrendel and C4.5) are used to induce classification models from sets of pre-classified cue phrases and their features in text and speech. Machine learning is shown to be an effective technique for not only automating the generation of classification models, but also for improving upon previous results. When compared to manually derived classification models already in the literature, the learned models often perform with higher accuracy and contain new linguistic insights into the data. In addition, the ability to automatically construct classification models makes it easier to comparatively analyze the utility of alternative feature representations of the data. Finally, the ease of retraining makes the learning approach more scalable and flexible than manual methods.Comment: 42 pages, uses jair.sty, theapa.bst, theapa.st

The Role of Accent in Popular Music: An Interdisciplinary Approach

In the thirty years that have passed since Peter Trudgill first published his study of British pop-song pronunciation, and fifteen years since Paul Simpson published his follow-up study of accents in pop and rock singing (1999), there have been several changes in the way linguists approach the sociolinguistics of singing. These changes include Franz Andres Morissey's introduction of sonority as a factor behind choosing particular phonological features, and the ongoing and evolving criticism of Trudgill's original assertion that singers were (and possibly still are) trying to 'imitate' Americans. The present study argues that existing theories are insufficient, and proposes a new framework for dealing with phonological choice in song, centred around three separate but unavoidably interrelated values that influence style choice – aesthetic, sonority, and indexicality. Unlike many related studies, it places emphasis on the interdisciplinary nature of the subject, drawing upon the work of musicologists, philosophers and linguists, in an attempt to bring a fresh perspective on the phenomenon. Special attention is given to the notion that singers use accents to create (or be appropriate to) a particular aesthetic. The view is taken that music scenes act as unique speech communities that possess both socially and musically derived linguistic norms that all members accept (both performers and audience), but only few actively utilise in their language use (the singers)

The shifting voice: Investigating accent and dialect training for West Australian actors

This masters research examines accent and dialect training for actors in the Western Australian context and seeks an understanding about what aural, embodied and cognitive attributes an actor needs in order to move from one accent to another. In particular, this research explores the characteristics of Australian dialects as grounds for the acquisition of the Standard British accent or Received Pronunciation. The purpose of this research was to identify the expertise required when teaching an accent to acting students in pre-professional levels of tertiary training. This practice-led approach to the research included interviewing, observation, the circulation of questionnaires, and my own reflective practice as a voice and dialect coach on several stage productions. The participants for this research included experts in the field of vocal and dialect training, students at two tertiary institutions in Western Australia, the Western Australian Academy of Performing Arts and Curtin University’s production of Dear Charlotte, in 2013. This thesis presents an analysis and research findings of vocal awakenings spring-boarding from working on the play, Dear Charlotte, a practical component of this research. The research has confirmed the benefits of phonetics as an important aspect of accent acquisition. The discussion focuses on the techniques used and the challenges actors face when making the shift from their idiolects to Received Pronunciation. It outlines the importance of an actor’s cognition, listening, and embodiment as facets of voice that need attention when making accent and dialect shifts. In addition to the process of enhancing and enriching my own practice as a voice and dialect coach, this research aims to contribute to understandings of accent and dialect training and the diversity of the needs from the perspective of Western Australian actors