French Learners of L2 English: Intonation Boundaries and the Marking of Lexical Stress

To test my hypothesis, I collected passages of read speech by thirteen upper intermediate/advanced French learners of English along with the same passage read by ten native English speakers. Two trisyllabics carrying primary stress on the second syllable (com'puter, pro'tection) were placed in a series of intonational contexts under observation. The test-words were then extracted and submitted to native English listeners. The perceptual results show that the predicted ‘challenging’ contexts indeed caused substantial instability in the learners’ placement of lexical stress as perceived by native English listeners

Temporal markers of prosodic boundaries in children's speech production

It is often thought that the ability to use prosodic features accurately is mastered in early childhood. However, research to date has produced conflicting evidence, notably about the development of children's ability to mark prosodic boundaries. This paper investigates (i) whether, by the age of eight, children use temporal boundary features in their speech in a systematic way, and (ii) to what extent adult listeners are able to interpret their production accurately and unambiguously. The material consists of minimal pairs of utterances: one utterance includes a compound noun, in which there is no prosodic boundary after the first noun, e.g. ‘coffee-cake and tea’, while the other utterance includes simple nouns, separated by a prosodic boundary, e.g. ‘coffee, cake and tea’. Ten eight-year-old children took part, and their productions were rated by 23 adult listeners. Two phonetic exponents of prosodic boundaries were analysed: pause duration and phrase-final lengthening. The results suggest that, at the age of 8, there is considerable variability among children in their ability to mark phrase boundaries of the kind analysed in the experiment, with some children failing to differentiate between the members of the minimal pairs reliably. The differences between the children in their use of boundary features were reflected in the adults' perceptual judgements. Both temporal cues to prosodic boundaries significantly affected the perceptual ratings, with pause being a more salient determinant of ratings than phrase-final lengthening

The interaction of pitch and timing in the perception of prosodic grouping

Speakers break their otherwise continuous speech stream into meaningful segments, the edges of which are marked by audible cues such as pauses, rate changes and pitch movement. Prosodic boundaries, as these segment edges and the cues marking them are known, play a role critical to language processing and spoken language acquisition. While great progress has been made in quantifying the complicated range of acoustic cues that mark boundaries, little is understood about the cognitive processes by which these cues guide linguistic interpretation. Further, while prosodic boundary measures typically treat critical cues from pitch and timing independently, evidence suggests that pitch and timing are perceptually interdependent. In fact, pitch factors may at times distort perceived duration. This dissertation presents 3 pairs of perception experiments investigating pitch-­time interaction, including putative distortion of perceived duration from dynamic pitch and cross-‑silence pitch jumps (i.e., the kappa effect). Each pair uses the same set of stimuli, resynthesized with crossed continua of pitch and timing manipulations, in two different tasks: one psychoacoustic judgment of duration, and one of linguistic interpretation. Results suggest that perceptual interaction of major cues from timing (preboundary lengthening and pauses) and pitch (edge tones and reset) can be analyzed as reflecting gestalt-­like grouping principles (proximity, similarity and continuity) that have been shown to play a role in perceptual grouping in other cognitive domains, including vision and non-speech auditory perception. In addition to these potentially more cognitive­‐general principles, a new role is introduced for learned and potentially language-­specific patterns to prosodic grouping, in particular intonational schemas, i.e., recognizable cross-­phrase pitch patterns. Beyond this, results also support the hypothesis that perceived grouping is the driving force behind several types of pitch­based auditory illusions, including the auditory kappa effect. This dissertation offers insights into why prosodic boundaries are expressed with the particular pitch and timing cues that are common cross-­linguistically. While much language form is arbitrary, the expression of grouping by way of acoustic cues appears to be much less so. This research has potential toexplain the perceptual foundations of boundary cues, and therefore the cross-­linguistic similarities of prosodic grouping cues

Pauses and the temporal structure of speech

Natural-sounding speech synthesis requires close control over the temporal structure of the speech flow. This includes a full predictive scheme for the durational structure and in particuliar the prolongation of final syllables of lexemes as well as for the pausal structure in the utterance. In this chapter, a description of the temporal structure and the summary of the numerous factors that modify it are presented. In the second part, predictive schemes for the temporal structure of speech ("performance structures") are introduced, and their potential for characterising the overall prosodic structure of speech is demonstrated

Contributions of temporal encodings of voicing, voicelessness, fundamental frequency, and amplitude variation to audiovisual and auditory speech perception

Auditory and audio-visual speech perception was investigated using auditory signals of invariant spectral envelope that temporally encoded the presence of voiced and voiceless excitation, variations in amplitude envelope and F-0. In experiment 1, the contribution of the timing of voicing was compared in consonant identification to the additional effects of variations in F-0 and the amplitude of voiced speech. In audio-visual conditions only, amplitude variation slightly increased accuracy globally and for manner features. F-0 variation slightly increased overall accuracy and manner perception in auditory and audio-visual conditions. Experiment 2 examined consonant information derived from the presence and amplitude variation of voiceless speech in addition to that from voicing, F-0, and voiced speech amplitude. Binary indication of voiceless excitation improved accuracy overall and for voicing and manner. The amplitude variation of voiceless speech produced only a small increment in place of articulation scores. A final experiment examined audio-visual sentence perception using encodings of voiceless excitation and amplitude variation added to a signal representing voicing and F-0. There was a contribution of amplitude variation to sentence perception, but not of voiceless excitation. The timing of voiced and voiceless excitation appears to be the major temporal cues to consonant identity. (C) 1999 Acoustical Society of America. [S0001-4966(99)01410-1]

Communicative functions of rhythm in spoken discourse - the case of radio broadcasting

Time is one of the most precious resources in the audio-visual media. Journalists working in radio broadcasting are particularly subject to time constraints. Their message has to be passed on by the speech signal in a few minutes or seconds without visual support of written text or pictures. Therefore, the message has to be structured in a way that the most important aspects of the information are made prominent and interesting for the audience. On the other hand, journalists have to keep in time and need strategies to orient themselves in time in order to achieve exact timing of their spoken discourse. In this article, I lend support to the notion that the rhythmic structure of speech is one of the major tools for journalists to succeed in this endeavor. First, I review some of the literature on the nature of speech rhythm and its role for speech perception, language acquisition, processing and interaction. Second, the state of the art about what we know about rhythmic prominence in radio broadcasting is given. Finally, the idea will be advanced that speech rhythm, sometimes in conjunction with gesture, improves timing and time estimation in journalists speaking on air. A rich set of literature from different domains is presented in order to identify major questions and pathways for future research on speech rhythm in radio broadcasting.Le temps est une ressource précieuse dans les médias audio-visuels. Les journalistes qui travaillent à la radio sont particulièrement soumis aux contraintes temporelles. Leur message doit être diffusé en quelques minutes ou secondes sans le support visuel d'un texte ou des images. Ainsi, le message doit être structuré de telle façon que les aspects les plus importants seront proéminents dans le discours et intéressent l'audience. D'un autre point de vue, les journalistes ont besoin de bien contrôler le temps qu'ils mettent eux-mêmes pour prononcer leur discours et de s'orienter dans le temps pour ajuster le temps de leur intervention le plus précisément possible. Dans cette contribution, j'examine l'hypothèse que le rythme de la parole fournit les structures nécessaires pour la réussite dans ces défis journalistiques. Dans un premier temps, je présente la littérature sur la nature du rythme de la parole et son rôle dans la perception et le traitement de la parole, l'acquisition de la langue et dans l'interaction. Deuxièmement, je passe en revue les résultats principaux des études concernant la proéminence rythmique dans le phonostyle radiophonique. Finalement, l'hypothèse défendue est que le rythme de la parole, parfois concurremment avec les gestes, conduit à un meilleur timing et une meilleure estimation du temps par les journalistes eux-mêmes quand ils sont à l'antenne. L'article fournira au lecteur un aperçu détaillé et multidisciplinaire de la littérature et identifiera les enjeux et de nouvelles pistes pour la recherche future à propos du rythme de la parole à la radio