Tone labelling algorithm for Sesotho

M.Sc., Faculty of Science, University of the Witwatersrand, 2011Studies have shown that text-to-speech systems need detailed prosodic models of a language in order to ideally sound natural to native speakers of the language. A text-to-speech system developed for Sesotho needs to have tone implemented in it since Sesotho is a tonal language which uses pitch variations to distinguish lexical and/or grammatical meaning. In order to implement tone for a language such as Sesotho, it is necessary for a tone modeling algorithm to receive as input the tone labels of the syllables of a word. This allows the algorithm to predict the appropriate intonation of the word. The aim of our study is to improve a basic tone labeling algorithm that predicts tone labels using three Sesotho tonal rules. The application of this algorithm is restricted to polysyllabic verb stems. The research study involves implementing an extended tone labeling algorithm that implements four additional Sesotho tonal rules and extends its application to all the other parts of speech. The results of our study show that the extended tone labeling algorithm significantly improves the basic algorithm by increasing the number of matched tone labels. Furthermore, our study provides the basic step to tone modeling for languages such as Sesotho which do not mark tone labels in orthography

短语切分、重点突出与形态声调学：永宁摩梭话的语句如何形成声调组

International audienceYongning Na is a Sino-Tibetan language spoken in an area straddling the border between Yunnan and Sichuan. The Yongning Na tone system is based on three levels: L, M, and H. It comprises a host of rules that are specific to certain morphosyntactic contexts. These rules represent the bulk of what language learners must acquire to master the tone system. Different rules apply in the association of a verb with a subject or an object, the association of two nouns into a compound, that of a numeral and classifier, and that of a word and its affixes, for instance. The domain of tonal computation is referred to here as the tone group; tonal processes never apply across tone-group junctures. The present study investigates how utterances are divided into tone groups in Yongning Na, building on examples from narratives and elicited combinations. There is no hard-and-fast correspondence between syntactic structure and tone group divisions: several options are generally open for the division of an utterance into tone groups. The choice among these options depends on considerations of information structure. This study is intended as a stepping-stone towards the long-term goal of modelling the Na tonal system (its morpho-phonology and its phonetics), and placing the findings in a typological perspective.永宁摩梭话（纳语）是汉藏语族纳语组的一种语言，位于云南跟四川交界地带的永宁坝与泸沽湖地区。永宁纳语的声调系统有高、中、低三个调域。本文介绍和分析纳语中的语句如何被划分为“声调组”。选择何种声调组往往反映了语句不同的信息结构。由于句法结构跟声调组的切分没有硬性直接的对应，说话人可以选择将一个大的组块整合为一个声调组，从而形成强整合，或者也可以把语句分成一些声调组，加强不同成分的风格效应。论文用详细的例子展示了在语句分为声调组的过程中说话人选择某种变调类型的动机。结构越紧密的语句，其可能划分的声调组就越少。而当出现富于表现力的或较生动的某个词时，句子便会用声调来切分

Deconstructing “the South African jazz feel”: roots, rhythms and features of South African jazz

South African jazz has established itself as a distinct and influential genre in modern popular music that merges musical elements from traditional South African musics with influences from U.S.-American jazz. Formed during a time of extreme social inequality in a divided country, South African jazz became the soundtrack of the struggle against social injustice and racial oppression, and was brought to international attention by artists such as Hugh Masekela, Miriam Makeba, and Abdullah Ibrahim who gave poignant musical expression to the hardships of the time. South African jazz is celebrated for its unique sound, original catalogue and all-important “feel”. To many listeners, performers and musicologists, it is this concept of feel that makes South African jazz so distinctive and inimitable. To date, however, much of the scholarly and popular literature on South African jazz has centred on the historical, social and political aspects of the music, with less attention given to close musical-textual analysis. A few studies have considered the melodic and harmonic language of iconic saxophonists and bass players but there are – to date – no close studies of rhythm and feel in South African jazz. Beginning to address this gap in the literature, this study uncovers some of the elements that constitute the South African jazz feel through close rhythmic and more general musical analyses of a selection of South African jazz recordings

Kayardild Morphology, Phonology and Morphosyntax

Kayardild possesses one of, if not the, most exuberant systems of morphological concord known to linguists, and a phonological system which is intricately sensitive to its morphology. This dissertation provides a comprehensive description of the phonology of Kayardild, an investigation of its phonetics, its intonation, and a formal analysis of its inflectional morphology. A key component of the latter is the existence of a ‘morphomic’ level of representation intermediate between morphosyntactic features and underlying phonological forms. Chapter 2 introduces the segmental inventory of Kayardild, the phonetic realisations of surface segments, and their phonotactics. Chapter 3 provides an introduction to the empirical facts of Kayardild word structure, outlining the kinds of morphs of which words are composed, their formal shapes and their combinations. Chapter 4 treats the segmental phonology of Kayardild. After a survey of the mappings between underlying and (lexical) surface forms, the primary topic is the interaction of the phonology with morphology, although major generalisations identifiable in the phonology itself are also identified and discussed. Chapter 5 examines Kayardild stress, and presents a constraint based analysis, before turning to an empirical and analytical discussion of intonation. Chapter 6, on the syntax and morphosyntax of Kayardild, is most substantial chapter of the dissertation. In association with the examination of a large corpus of new and newly collated data, mutually compatible analyses of the syntax and morphosyntactic features of Kayardild are built up and compared against less favourable alternatives. A critical review of Evans’ (1995a) analysis of similar phenomena is also provided. Chapter 7 turns to the realisational morphology — the component of the grammar which ties the morphosyntax to the phonology, by realising morphosyntactic features structures as morphomic representations, then morphomic representations as underlying phonological representations. A formalism is proposed in order to express these mappings within a constraint based grammar. In addition to enriching our understanding of Kayardild, the dissertation presents data and analyses which will be of interest for theories of the interface between morphology on the one hand and phonology and syntax on the other, as well as for morphological and phonological theory more narrowly

The Impact of Accents on Automatic Recognition of South African English Speech: A Preliminary Investigation

The accent with which words are spoken can have a strong effect on the performance of a speech recognition system. In a multilingual country such as South Africa where English is not the first language of most citizens, the need to address this issue is critical when building speech-based systems. In this project we trained two sets of hidden Markov Models for isolated word English speech. The first set of models was trained with native English speakers and the second set was trained with non-native speakers from a representative sample of major South African accent groups. We compared the recognition accuracies of the two sets of models and found that the models trained with accented English performed better. This preliminary research indicates that there is merit to committing resources to the task of accented training