Consonant cluster phonotactics : a perceptual approach

Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Linguistics and Philosophy, 2000.Includes bibliographical references (p. [309]-345).This dissertation deals with deletion and epenthesis processes conditioned or constrained by the consonantal environment, essentially consonant deletion, vowel epenthesis and vowel deletion. It is argued that the standard generative approach to these processes, which relies on the syllable and the principle of prosodic licensing, is empirically inadequate, and an alternative sequential approach based on perceptual factors is developed. It is proposed that the likelihood that a consonant deletes, triggers epenthesis or blocks vowel deletion correlates with the quality and quantity of the auditory cues associated to it in a given context. The approach is implemented in Optimality Theory and adopts more specifically the 'Licensing by cue' framework developed by Steriade (1997, 1999). New empirical generalizations concerning deletion and epenthesis processes are uncovered, in particular 1) the fact that stops are more likely than other consonants to delete, trigger epenthesis or block deletion; 2) the role of syntagmatic contrast in deletion and epenthesis processes; 3) the role of the audibility of stop release bursts; 4) the existence of cumulative edge effects, whereby more and more phonotactic combinations are licensed at the edges of prosodic domains as we go up the prosodic hierarchy. These generalizations are elucidated in terms of internal and contextual cues, modulation in the acoustic signal, and cue enhancement processes at edges of prosodic domains. The proposed perceptual approach achieves a substantial simplification and unification of the conceptual apparatus necessary to analyze deletion and epenthesis processes. It subsumes under the more general notion of perceptual salience principles of syllable well-formedness and the Obligatory Contour Principle. Furthermore, it eliminates the need for exceptional mechanisms such as extra syllabicity at domain edges. The analysis is based on the study of deletion and epenthesis processes in a variety of languages. Detailed investigations of schwa in Parisian French, cluster simplification in Quebec French and stop deletion and vowel epenthesis in Ondarroa Basque are provided.by Marie-Hélène Côté.Ph.D

Speech rhythm: the language-specific integration of pitch and duration

Experimental phonetic research on speech rhythm seems to have reached an impasse. Recently, this research field has tended to investigate produced (rather than perceived) rhythm, focussing on timing, i.e. duration as an acoustic cue, and has not considered that rhythm perception might be influenced by native language. Yet evidence from other areas of phonetics, and other disciplines, suggests that an investigation of rhythm is needed which (i) focuses on listeners’ perception, (ii) acknowledges the role of several acoustic cues, and (iii) explores whether the relative significance of these cues differs between languages. This thesis, the originality of which derives from its adoption of these three perspectives combined, indicates new directions for progress. A series of perceptual experiments investigated the interaction of duration and f0 as perceptual cues to prosody in languages with different prosodic structures – Swiss German, Swiss French, and French (i.e. from France). The first experiment demonstrated that a dynamic f0 increases perceived syllable duration in contextually isolated pairs of monosyllables, for all three language groups. The second experiment found that dynamic f0 and increased duration interact as cues to rhythmic groups in series of monosyllabic digits and letters; the two cues were significantly more effective than one when heard simultaneously, but significantly less effective than one when heard in conflicting positions around the rhythmic-group boundary location, and native language influenced whether f0 or duration was the more effective cue. These two experiments laid the basis for the third, which directly addressed rhythm. Listeners were asked to judge the rhythmicality of sentences with systematic duration and f0 manipulations; the results provide evidence that duration and f0 are interdependent cues in rhythm perception, and that the weighting of each cue varies in different languages. A fourth experiment applied the perceptual results to production data, to develop a rhythm metric which captures the multi-dimensional and language-specific nature of perceived rhythm in speech production. These findings have the important implication that if future phonetic research on rhythm follows these new perspectives, it may circumvent the impasse and advance our knowledge and model of speech rhythm.This work was funded by an AHRC doctoral award to the author

The Idiosyncratic Language of Brazilian Music: Strategies for Performing Villa-Lobos Choros No. 10

Heitor Villa-Lobos’ Choros No. 10 is a composition with many cultural and symbolic inclusions. This work seeks to support a conductor’s informed performance of the piece by providing historical and technical context from the conductor’s life and influences. The first section examines the ethnographic and sociopolitical factors in Brazil during the conductor’s life, and then the personal influences on Villa-Lobos’ career, in order to establish the foundation for a section-by-section analysis of the work which illuminates the idiosyncratic nature of the composer’s masterpiece