Intonation by rule: a perceptual quest

Hart, J. ’t; Cohen, A.

doi:10.1016/s0095-4470(19)31400-7

Cited by 109 publications

(28 citation statements)

References 6 publications

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“…H% is higher) of H* H% and, only marginally in favour for the high variant of H*L H%, but showed least preference for the low variant of L*H H%. The rating of H*L H% is not in accordance with 't Hart and Cohen's (1973) finding that H*L H% occurred frequently at the clause boundary. The discrepancy between their finding and our result may be due to the difference in the speech material.…”

Section: Dutch Datacontrasting

confidence: 79%

“…In connection with such a difference between two genetically closely related languages, English and German, the interesting question arises as to what would be the preferred continuation contour in Dutch, a language that not only resembles the intonation of British English in numerous ways, but also is at the same time believed to sound rather similar to German. In a production study, 't Hart andCohen (1973, as cited in 't Hart, Collier andCohen 1990: 101-102) asked six native speakers of Dutch to read a series of Dutch proverbs, fourteen of which contained a clause boundary, and found that in two-thirds of the renditions, the clause boundary was marked by means of one of the three pitch contours, A2 (H*L H%), 1 (H* %) and E (!H*L). The distribution of these three contours in these instances was as follows: over 50% (H*L H%), about 30% (H* %), and about 20% (!H*L).…”

Section: Hypothesis 1: Preferred Continuation Pitch Contourmentioning

confidence: 99%

“…The discrepancy between their finding and our result may be due to the difference in the speech material. In 't Hart and Cohen (1973), subjects were asked to read proverbs and sentences selected from prose, while listeners in Experiment 1 rated semantically unsurprising sentences. It is likely that proverbs and prose tend to be read with intonation (e.g.…”

Section: Dutch Datamentioning

confidence: 99%

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Language-specificity in the perception of continuation intonation

Chen¹

2007

Phonology and Phonetics

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This paper addressed the question of how British English, German and Dutch listeners differ in their perception of continuation intonation both at the phonological level (Experiment 1) and at the level of phonetic implementation (Experiment 2). In Experiment 1, preference scores of pitch contours to signal continuation at the clauseboundary were obtained from these listener groups. It was found that among contours with H%, British English listeners had a strong preference for H*L H%, as predicted.Unexpectedly, British English listeners rated H* H% noticeably more favourably than L*H H%; Dutch listeners largely rated H* H% more favourably than H*L H% and L*H H%; German listeners rated these contours similarly and seemed to have a slight preference for H*L H%. In Experiment 2, the degree to which a final rise was perceived to express continuation was established for each listener group in a made-up language.It was found that although all listener groups associated a higher end pitch with a higher degree of continuation likelihood, the perceived meaning difference for a given interval of end pitch heights varied with the contour shape of the utterance final syllable. When it was comparable to H* H%, British English and Dutch listeners perceived a larger meaning difference than German listeners; when it was comparable to H*L H%, British English listeners perceived a larger difference than German and Dutch listeners. This shows that language-specificity in continuation intonation at the phonological level affects the perception of continuation intonation at the phonetic level.

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Section: Dutch Datacontrasting

confidence: 79%

Section: Hypothesis 1: Preferred Continuation Pitch Contourmentioning

confidence: 99%

Section: Dutch Datamentioning

confidence: 99%

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Language-specificity in the perception of continuation intonation

Chen¹

2007

Phonology and Phonetics

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“…14. Tone responses for the falling tone after swapping in experiment 3. compensation for the reversed declination of overall F0 contour due to swapping. The swapping operation, though not changing the tonal categories in the tonal context for the second falling tone in the tonal sequences of \ \ \ (which is the tonal sequence having conflicting context and subject to pseudochange by the swapping operation) reverses the F0 declination, which has been found in many languages including Mandarin ('t Hart, 1973;Maeda, 1976;Pierrehumbert, 1979;G•rding, 1987), in the original signal. This reversed declination in the stimuli is compounded by listeners' expectation for the normal declination.…”

Section: Furthermore the 18% Of Low Tone Responses Should Be Considementioning

confidence: 99%

Production and perception of coarticulated tones

1994

The Journal of the Acoustical Society of America

173

106

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In the present study, the distinctive tones of Mandarin were found to coarticulate with adjacent tones in running speech. However, the amount of deviation of a tone from its canonical form due to coarticulation varied depending on the nature of the tonal context. In a context where adjacent tonal values agree (a "compatible" context), the deviation was relatively small. In a context where adjacent tonal values disagree (a "conflicting" context), the deviation was much greater, sometimes even to the extent of changing the direction of a dynamic tone. To examine the perception of coarticulated tones, naturally produced words and phrases were used as stimuli for tone identification. However, their semantic information was removed through waveform editing while all the tonal information contained in the signal remained intact. Identification of tones in the compatible context was highly accurate with or without the original tonal context. Tonal identification for the conflicting context remained accurate only when the tones were presented with the original tonal context. Without the original context, i.e., in isolation, correct tone identification dropped below chance. When the original tonal context was altered, listeners compensated for the altered context as if it had been there originally. It thus seems that, in tone perception, listeners compensate for variations due to coarticulation. Nevertheless, even with the presence of the original context, perceptual identification was better for the compatible context than for the conflicting context, indicating that variation due to coarticulation is not always completely compensated for by listeners.

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“…Figuur 3 laat de gemiddelde toonhoogtewaarden voor het Engels, Duits en Nederlands zien. Engelse sprekers hebben het grootste gemiddeld toonhoogtebereik (14 semitonen 1 , Mennen e.a., 2012), gevolgd door Duitse (11 semitonen, Mennen e.a., 2012) sprekers, Nederlandse sprekers hebben het kleinste toonhoogtebereik (6 semitonen, 't Hart & Cohen, 1973).…”

Section: Realisatieverschillen In Intonatieunclassified

De toon waarop: Wat is intonatie en hoe kan het afwijken van de norm?

Mennen

2018

SSTP

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SamenvattingSimpel gezegd verwijst intonatie of zinsmelodie naar veranderingen in toonhoogte die in mondelinge communicatie gebruikt worden voor het weergeven van informatie. Kinderen krijgen intonatie meestal probleemloos onder de knie, ook al duurt het een tijdje voordat ze intonatie op een volwassen manier gebruiken. Toch hebben sommige mensen moeite met intonatie. Dat is niet verwonderlijk want intonatie is complex. Intonatie behelst namelijk meer dan alleen het produceren van stijgende en dalende toonhoogtebewegingen. Een ander belangrijk aspect van intonatie is het koppelen van deze bewegingen aan een functionele betekenis. Dit omvat het leren van de inventaris van fonologisch verschillende intonatiecontouren van een bepaalde taal, het uitzoeken wat hun betekenis is, wat de gebruiksfrequentie van intonatiecontouren is, en hoe ze precies uitgesproken worden onder verschillende omstandigheden. Het produceren van taalspecifieke intonatie is dus een complexe taak. Het is niet verwonderlijk dat tweede taalverwervers dit slechts zelden perfect onder de knie krijgen. Gezien de complexiteit van intonatie is het ook niet vreemd dat in sommige spraakstoornissen afwijkingen in de intonatie worden vastgesteld. In recente jaren zijn nieuwe technieken ontwikkeld om intonatie te analyseren. Deze kunnen identificeren in hoeverre en op welke manier intonatie afwijkt van de verwachting en kunnen daarmee een bijdrage leveren aan het ontwikkelen van een gericht interventieplan. SummarySimply put, intonation or sentence melody refers to the changes in pitch that are used in oral communication to convey information. Children usually master intonation without any problems, even though it may take a while before they use it in a mature way. Some people, nevertheless, experience problems with intonation. That is not surprising because intonation is complex. This is because intonation involves more than just the production of rising and falling pitch movements. A further important aspect of intonation is to map these movements to functional meaning. This involves learning the inventory of phonologically distinct intonation contours for that particular language, Correspondentieadres:

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Intonation by rule: a perceptual quest

Cited by 109 publications

References 6 publications

Language-specificity in the perception of continuation intonation

Language-specificity in the perception of continuation intonation

Production and perception of coarticulated tones

De toon waarop: Wat is intonatie en hoe kan het afwijken van de norm?

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