Word order and tonal shape in the production of focus in short Finnish utterances

Published on CD-ROMThis paper presents results from a study on the production of Finnish prosody. The effect of word order and the tonal shape in the production of Finnish prosody was studied as produced by 8 native Finnish speakers. Predictions formulated with regard to results from an earlier study pertaining to the perception of promi- nence were tested. These predictions had to do with the tonal shape of the utterances in the form of a flat hat pattern and the effect of word order on the so called top-line declination within an adver- bial phrase in the utterances. The results from the experiment give support to the following claims: the temporal domain of prosodic focus is the whole utterance, word order reversal from unmarked to marked has an effect on the production of prosody, and the pro- duction of the tonal aspects of focus in Finnish follows a basic flat hat pattern. That is the prominence of a word can be produced by an f 0 rise or a fall, depending on the location of the word in an utterance. The basic accentual shape of a Finnish word is then not a pointed rise/fall hat shape as claimed before since it can vary depending on the syllable structure and the position within an ut- terance.Peer reviewe

Focus in production : Tonal shape, intensity and word order

Peer reviewe

On the pragmatic and semantic functions of Estonian sentence prosody

The goal of the dissertation was to investigate intonational correlates of information structure in a free word order language, Estonian. Information-structural categories such as focus or givenness are expressed by different grammatical means (e.g. pronoun, presence of accent, word order etc.) in different languages of the world (Chafe, 1976; 1987; Prince, 1981; 1992; Lambrecht, 1994; Gundel, 1999). The main cue of focus in intonation languages (e.g. English and German) is pitch accent (Halliday, 1967a; Ladd, 2008). In free word order languages, information structure affects the position of words in a sentence (É. Kiss, 1995) and sometimes it is even implied that word order in a free word order language might function like pitch accent in an intonation language (Lambrecht 1994: 240). The study reports on perception and production experiments on the effects of focus and givenness on Estonian sentence intonation. The aim of the experiments was to establish whether information structure has tonal correlates in Estonian, and if so, whether information structure or word order interacts more strongly with sentence intonation. A perception experiment showed that L1-Estonian listeners perceive pitch prominence as focus and accent shift as a change of sentence focus. A speech production study showed congruently that L1-Estonian speakers do use accent shift, and mark sentence focus with pitch accent. Another speech production experiment demonstrated that there is no phonetic difference between new information focus (e.g. “What did Lena draw?” – “Lena drew a whale.”) and corrective focus (e.g. “Lena drew a lion.” – “No! She drew a whale”). The last experiment showed that given information is signalled with varying F0 range, if followed by focus, but without a pitch accent, if preceded by focus. All the experiments revealed that word order has a weak influence on sentence intonation. Sentence intonation interacts with focus and givenness in Estonian. As a conclusion, it is suggested that the pragmatic functions of word order, which apparently can be overridden by focus interpretation, are slightly different from the functions of pitch accent

Phonetic tone signals quantity and word structure

Many languages exploit suprasegmental devices in signaling word meaning. Tone languages exploit fundamental frequency whereas quantity languages rely on segmental durations to distinguish otherwise similar words. Traditionally, duration and tone have been taken as mutually exclusive. However, some evidence suggests that, in addition to durational cues, phonological quantity is associated with and co-signaled by changes in fundamental frequency in quantity languages such as Finnish, Estonian, and Serbo-Croat. The results from the present experiment show that the structure of disyllabic word stems in Finnish are indeed signaled tonally and that the phonological length of the stressed syllable is further tonally distinguished within the disyllabic sequence. The results further indicate that the observed association of tone and duration in perception is systematically exploited in speech production in Finnish.Peer reviewe

The role of duration and pitch in signaling quantity in Finnmark North Sámi

Ternary quantity opposition is a cross-linguistically extremely rare typological feature. One of the languages using ternary opposition of consonants to signal linguistic contrasts is North Sámi, an endangered language spoken in several countries in the northernmost Scandinavia. Previous studies have shown that while the contrast between the two shorter quantity degrees is phonetically robustly realized using segmental durations, phonetic differences between the two longer degrees are much more subtle and show a considerable regional variation. In this work we investigate other prosodic means that might be used to mark the contrast alongside duration, namely f0 movement and range. We show that the North Sámi speakers that are also native speakers of Norwegian use pitch to co-signal the differences between the two higher quantity degrees, while speakers that are Finnish-North Sámi bilinguals use primarily durational cues. Interpreting these findings in the light of prosodic characteristics of the majority languages (Finnish and Norwegian) we argue that these regional differences reflect the majority language influence which can be a source of the ongoing dialectal divergence, and potential language change.Peer reviewe

Composing literacy: Exploring how musical aptitude explains technical reading abilities

Several studies have indicated a connection between musical skills and reading-related abilities. However, the underlying reasons to the connection have been unclear. I studied whether subskills within musical aptitude can explain the relationship between music and reading in 8–11-year-old children (N = 66). The children were tested for musical aptitude subskills: pitch discrimination, temporal discrimination, and tonal memory. The focus lay on technical reading abilities, namely performance in reading fluency and sentence comprehension in the Finnish primary school reading test. Linear regression models were used to assess whether the subskills, both together and separately, account for the variance in reading performance. The combination of musical aptitude subskills was related to technical reading abilities. Independently of other subskills, tonal memory explained both reading fluency and sentence comprehension while pitch discrimination explained only reading fluency. The findings support the hypothesis that musical aptitude and reading-related abilities share common mechanisms, such as pitch perception. More extensive research on how musical aptitude and reading are related is needed. Information about the underlying mechanisms in them could be used to create music interventions to support reading acquisition

Chapter 2: The Original ToBI System and the Evolution of the ToBI Framework

In this chapter, the authors will try to identify the essential properties of a ToBI framework annotation system by describing the development and design of the original ToBI conventions. In this description, the authors will overview the general phonological theory and the specific theory of Mainstream American English intonation and prosody that the authors decided to incorporate in the original ToBI tags. The authors will also state the practical principles that led us to make the decisions that the authors did. The chapter is organised as follows. Section 2.2 briefly chronicles how the MAE_ToBI system came into being. Section 2.3 briefly describes the consensus account of English intonation and prosody on which the MAE_ToBI system is based. Section 2.4 catalogues the different components of a MAE_ToBI transcription and lists the salient rules which constrain the relationships between different components. This section also expands upon the theoretical foundations and practical consequences of adopting the general structure of multiple labelling tiers, and particularly the separation of the labels for tones from the labels for indexing prosodic boundary strength. Section 2.5 then describes some of the extensions of the basic ToBI tiers that have been adopted by some sites. This section also compares our decisions about the number of tiers and about inter-tier constraints with the analogous decisions for some of the other ToBI systems described in this book. Section 2.6 discusses the status of the symbolic labels relative to the continuous phonetic records that are also an obligatory component of the MAE_ToBI transcription. Section 2.7 then closes by listing several open research questions that the authors would like to see addressed by MAE_ToBI users and the larger ToBI community

Tonal placement in Tashlhiyt: How an intonation system accommodates to adverse phonological environments

In most languages, words contain vowels, elements of high intensity with rich harmonic structure, enabling the  perceptual retrieval of pitch. By contrast, in Tashlhiyt, a Berber language, words can be composed entirely of voiceless segments. When an utterance consists of such words, the phonetic opportunity for the execution of intonational pitch movements is exceptionally limited. This book explores in a series of production and perception experiments how these typologically rare phonotactic patterns interact with intonational aspects of linguistic structure. It turns out that Tashlhiyt allows for a tremendously flexible placement of tonal events. Observed intonational structures can be conceived of as different solutions to a functional dilemma: The requirement to realise meaningful pitch movements in certain positions and the extent to which segments lend themselves to a clear manifestation of these pitch movements

On the pragmatic and semantic functions of Estonian sentence prosody

The goal of the dissertation was to investigate intonational correlates of information structure in a free word order language, Estonian. Information-structural categories such as focus or givenness are expressed by different grammatical means (e.g. pronoun, presence of accent, word order etc.) in different languages of the world (Chafe, 1976; 1987; Prince, 1981; 1992; Lambrecht, 1994; Gundel, 1999). The main cue of focus in intonation languages (e.g. English and German) is pitch accent (Halliday, 1967a; Ladd, 2008). In free word order languages, information structure affects the position of words in a sentence (É. Kiss, 1995) and sometimes it is even implied that word order in a free word order language might function like pitch accent in an intonation language (Lambrecht 1994: 240). The study reports on perception and production experiments on the effects of focus and givenness on Estonian sentence intonation. The aim of the experiments was to establish whether information structure has tonal correlates in Estonian, and if so, whether information structure or word order interacts more strongly with sentence intonation. A perception experiment showed that L1-Estonian listeners perceive pitch prominence as focus and accent shift as a change of sentence focus. A speech production study showed congruently that L1-Estonian speakers do use accent shift, and mark sentence focus with pitch accent. Another speech production experiment demonstrated that there is no phonetic difference between new information focus (e.g. “What did Lena draw?” – “Lena drew a whale.”) and corrective focus (e.g. “Lena drew a lion.” – “No! She drew a whale”). The last experiment showed that given information is signalled with varying F0 range, if followed by focus, but without a pitch accent, if preceded by focus. All the experiments revealed that word order has a weak influence on sentence intonation. Sentence intonation interacts with focus and givenness in Estonian. As a conclusion, it is suggested that the pragmatic functions of word order, which apparently can be overridden by focus interpretation, are slightly different from the functions of pitch accent