A Perceptual Study of Intonation: An Experimental-Phonetic Approach to Speech Melody

Cover......Page 1
Frontmatter......Page 2
Contents......Page 6
List of tables......Page 10
List of figures......Page 12
Preface......Page 14
Acknowledgments......Page 16
1 - Introduction......Page 18
1.1 A dilemma......Page 19
1.2 A way out......Page 21
1.3 Overview of the contents......Page 23
2.1 The physiology of intonation......Page 27
2.2 Acoustic manifestations of vocal-cord vibration and their measurement......Page 34
2.3 Perception......Page 42
2.4 Integration......Page 53
3.1 Pitch movements......Page 55
3.2 Pitch contours......Page 73
3.3 Intonation patterns......Page 76
3.4 A schematic survey......Page 81
3.5 A general characterization of the IPO approach......Page 83
Introduction......Page 85
Proposition 1: In the phonetic perception of pitch in speech the listener is sensitive to a highly restricted class of Fo changes only: viz. those that have been intentionally produced by the speaker......Page 86
Proposition 2: At the first level of description, the smallest unit of perceptual analysis is the pitch movement......Page 89
Proposition 3: There are no pitch `levels'......Page 92
Proposition 4: The combinatory possibilities of the pitch movements are highly constrained and can be expressed formally in a `grammar' of intonation......Page 94
Proposition 5: The unlimited number of different pitch contours are manifestations of a finite number of basic intonation patterns......Page 99
Proposition 6: All the relevant features of pitch movements are controlled by the activity of the laryngeal muscles......Page 105
Proposition 7: Intonation takes precedence over accentuation in determining the shape of a pitch contour......Page 112
Proposition 8: The correspondence between intonation and syntax is neither obligatory nor unique......Page 117
Proposition 9: Intonation features have no intrinsic meaning......Page 127
Proposition 10: The successful programming of a pitch contour requires only a limited `look-ahead' strategy that integrates intonational, accentual and surface-syntactic information......Page 131
5.0 Introduction......Page 138
5.1 Acoustic and perceptual aspects......Page 141
5.2 Production......Page 149
5.3 Communicative aspects......Page 158
5.4 Concluding remarks......Page 165
6.0 Introduction......Page 168
6.1 A systematic-phonetic treatment of Dutch intonation......Page 169
6.2 Ladd's analysis of the `hat pattern'......Page 182
6.3 General discussion......Page 184
7.0 Introduction......Page 186
7.1 Existing applications......Page 187
7.2 Potential applications......Page 193
7.3 Conclusions......Page 200
8.1 Top down......Page 201
8.2 Bottom up......Page 202
8.3 Reconciling top down and bottom up......Page 204
8.4 Integrating the linguistic code and the speech signal......Page 206
References......Page 208
Author index......Page 220
Subject index......Page 223