The Relative Weights of the Different Prosodic Dimensions in Expressive Speech: A Resynthesis Study

Audibert, Nicolas; Auberge, Véronique; Rilliard, Albert

doi:10.1007/11573548_68

Cited by 6 publications

(12 citation statements)

References 7 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Consistent with the claim that changing intensity contours alone cannot bring any significant information [16], we observed that sound intensity raising could not significantly enhance the anger level of neutral prosodies and reduced sound intensity angry prosodies still sound angry. However, decreasing sound intensity conspicuously weaken the angry level and prolonged the reaction times for angry prosodies, suggesting that sound intensity do have a role in vocal emotion encoding [1], [9], at least in expression of anger.…”

Section: Resultssupporting

confidence: 89%

“…This finding is consistent with previous studies which indicated that it is a specific acoustic pattern, but not a single acoustic parameter alone, that convey vocal emotion [1], [43], and no parameter alone is able to carry the whole emotion information and the intensity contours do not bring any significant information when used alone [16]. However, reducing mean sound intensity decreased the anger level of angry prosodies quantitatively, suggesting that sound intensity do play a role in vocal emotion expressing, in line with the numerous studies which stated that loudness is one of the acoustic cues to convey emotion [1], [42]–[43].…”

Section: Discussionsupporting

confidence: 93%

“…Distinct from aforementioned line of researches emphasizing the contribution of sound intensity or energy in vocal emotion communication, some other researches claimed that sound intensity contours do not bring any significant information when used alone [16]. In line with this opinion, most studies investigating the neural correlates underlying perception of vocal emotion employed stimuli which were matched for acoustic energy parameters [17]–[20].…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

The Contribution of Sound Intensity in Vocal Emotion Perception: Behavioral and Electrophysiological Evidence

et al. 2012

View full text Add to dashboard Cite

Although its role is frequently stressed in acoustic profile for vocal emotion, sound intensity is frequently regarded as a control parameter in neurocognitive studies of vocal emotion, leaving its role and neural underpinnings unclear. To investigate these issues, we asked participants to rate the angry level of neutral and angry prosodies before and after sound intensity modification in Experiment 1, and recorded electroencephalogram (EEG) for mismatching emotional prosodies with and without sound intensity modification and for matching emotional prosodies while participants performed emotional feature or sound intensity congruity judgment in Experiment 2. It was found that sound intensity modification had significant effect on the rating of angry level for angry prosodies, but not for neutral ones. Moreover, mismatching emotional prosodies, relative to matching ones, induced enhanced N2/P3 complex and theta band synchronization irrespective of sound intensity modification and task demands. However, mismatching emotional prosodies with reduced sound intensity showed prolonged peak latency and decreased amplitude in N2/P3 complex and smaller theta band synchronization. These findings suggest that though it cannot categorically affect emotionality conveyed in emotional prosodies, sound intensity contributes to emotional significance quantitatively, implying that sound intensity should not simply be taken as a control parameter and its unique role needs to be specified in vocal emotion studies.

show abstract

Section: Resultssupporting

confidence: 89%

Section: Discussionsupporting

confidence: 93%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

The Contribution of Sound Intensity in Vocal Emotion Perception: Behavioral and Electrophysiological Evidence

et al. 2012

View full text Add to dashboard Cite

show abstract

“…In other words, prosody is realized by a combination of at least these three prosodic elements based upon observation on our speech corpus. These results suggests that, as already pointed out by Audibert et al [5], in order to obtain a more natural synthesized voice, more acoustic elements (not only pitch) should be integrated. Moreover, this suggests that an automatic prosody labeler will perform better when three acoustic elements are integrated (56.3%), instead of using only pitch and duration (55.3%), as AuToBI does [17].…”

Section: Prosody Prediction Experimentssupporting

confidence: 70%

“…However, the combination of word level acoustic and linguistic features seem still not to lead to an optimal speech quality. Speech generated using these features continues to suffer from a certain monotony, especially in the case of expressive multisentential discourse [5].…”

Section: Introductionmentioning

confidence: 99%

Combining acoustic and linguistic features in phrase-oriented prosody prediction

Domínguez¹,

Farrús²,

Wanner³

2016

Speech Prosody 2016

View full text Add to dashboard Cite

Intonation is traditionally considered to be the most important prosodic feature, whereupon an important research effort has been devoted to automatic segmentation and labeling of speech samples to grasp intonation cues. A number of studies also show that when duration or intensity are incorporated, automatic prosody labeling is further improved. However, the combination of word level acoustic features still attains poor results when machine learning techniques are applied on annotated corpora to derive intonation for speech synthesis applications. To address this problem, we present an experimental setup for the development of a hierarchical prosodic structure model which combines linguistic features, including information structure, and three acoustic elements (intensity, pitch and duration). We show empirically that this combination leads to a considerably more accurate representation of prosody and, consequently, a more reliable automatic labeling of speech corpora for machine learning.

show abstract

Pitch scaling and the internal structuring of the Intonation Phrase in French

D’Imperio

Michelas

2014

Phonology

View full text Add to dashboard Cite

International audienceWithin the Autosegmental-Metrical approach to French intonation, two levels of phrasing are generally accepted, the Accentual Phrase (AP) and the Intonation Phrase (IP), while the existence of an intermediate level, i.e., the intermediate phrase or ip, is controversial. Our data provide strong evidence for the existence of the ip by uncovering systematic pitch scaling effects associated with the right edge of this constituent. We first show that the presence of an ip-break is responsible for blocking recursive downstep of subsequent AP-final LH* rises in declarative utterances, causing the return of the H target to the pitch level set by the first accentual peak of the phrase (i.e., complete reset). This mechanism is claimed to result from control over the reference pitch level for the entire ip, which can alternatively be modeled through secondary association of the last pitch accent of the domain. We also report on duration evidence pointing to the existence of preboundary lengthening associated to the last syllable of the ip. Finally, we provide additional evidence for the internal structuring of the Intonation Phrase by reporting data on partial reset occurring on the first H peak following the ip boundary.

show abstract

The Relative Weights of the Different Prosodic Dimensions in Expressive Speech: A Resynthesis Study

Cited by 6 publications

References 7 publications

The Contribution of Sound Intensity in Vocal Emotion Perception: Behavioral and Electrophysiological Evidence

The Contribution of Sound Intensity in Vocal Emotion Perception: Behavioral and Electrophysiological Evidence

Combining acoustic and linguistic features in phrase-oriented prosody prediction

Pitch scaling and the internal structuring of the Intonation Phrase in French

Contact Info

Product

Resources

About