Comd 5070 Exam 1

Front 1

What are the 4 goals for this semester?

Back 1

1. Understand speech sound production 2. Learn about speech measurement 3. See its clinical application 4. Build confidence in using technology

Front 2

What is the ultimate test of speech measurement?

Back 2

Does it sound right?

Front 3

No instrument can replace the:

Back 3

experienced SLP

Front 4

Technology merely has tools to:

Back 4

help us

Front 5

Technology complements:

Back 5

our own experience and skills

Front 6

What are the 4 characteristics of the scientific method?

Back 6

Empirical, Deterministic, Predictive, and Parsimonious

Front 7

What does empirical mean?

Back 7

based on data and direct experience

Front 8

What does deterministic mean?

Back 8

It obeys physical laws of cause and effect -- it's not random

Front 9

What does predictive mean?

Back 9

If you do this… than that will happen.

Front 10

What does parsimonious mean?

Back 10

Use the simplest explanation possible -- boil it down to its essence.

Front 11

Why do we collect data and interpret it?

Back 11

to make sense of the behavior we are trying to understand

Front 12

We make decisions based on:

Back 12

our own direct experience

Front 13

The empirical approach is opposed to the ___________ approach.

Back 13

rational

Front 14

What is the approach used in philosophy where you make decisions based on reasoning and careful thought?

Back 14

rational approach

Front 15

How does the predictive nature of science help us?

Back 15

we can extrapolate that information to apply to other situations that we may not have experienced yet.

Front 16

What are 5 reasons why we use technology to analyze speech?

Back 16

1. Overcome listener bias 2. Describe the severity of a disorder objectively 3. track progress over teime 4. ASHA has focus on EBP (Evidence Based Practice) 5. Provide biofeedback to the client

Front 17

Analysis with technology provides measurement that is _____________ and ____________.

Back 17

consistent and reliable

Front 18

Technology provides objective criteria to measure our client against:

Back 18

standardized measures

Front 19

By tracking our progress over time, we can demonstrate:

Back 19

treatment efficacy (or not)

Front 20

What does EBP stand for?

Back 20

Evidence Based Practice

Front 21

In order to objectively prove that the treatment was effective, we must measure our client's performance when?

Back 21

before and after treatment

Front 22

Using hard data, we don't have to rely on :

Back 22

our opinions

Front 23

One limitation that occurs with non-technical observation over time is:

Back 23

becoming habituated to the client's speech

Front 24

What does biofeedback do?

Back 24

Shows the person what they are doing on a computer display in real time, and can help them change behavior.

Front 25

_________________ can show voice patterns in real time.

Back 25

Computer software displays such as Busy Pitch

Front 26

Name an example of something the client could see about his voice on the computer screen.

Back 26

Patterns in prosody, etc.

Front 27

The SLP needs to know normal physiology in order to :

Back 27

understand & recognize disordered physiology.

Front 28

Why does the computer software require you as an educated SLP?

Back 28

You must understand what the numbers from the instrument represent. You provide the expert interpretation.

Front 29

What are the 3 Key Arenas of speech analysis?

Back 29

1. Acoustic phonetics 2. Physiologic phonetics 3. speech perception

Front 30

The measuring of speech production through microphone recordings and studying what it can tell us about the way the larynx is operating or the articulators are moving is called:

Back 30

Acoustic Phonetics

Front 31

What are the 3 subcategories of Physiologic Phonetics?

Back 31

1. Kinematics 2. aerodymanics 3. electromyography

Front 32

What do you call the study of speech movements?

Back 32

kinematics

Front 33

What do you call the study of the pressure, flow & resistance we use to regulate our breathstream?

Back 33

aerodynamics

Front 34

What do you call the study of the electrical activity of muscles as they are activated?

Back 34

Electromyography

Front 35

What do you call the aspects of signal processing of the brain?

Back 35

Speech perception

Front 36

We can draw parallels between the ______________ aspects of speech understanding and the ____________ techniques that we use to evaluate a speech signal in a quantitative way.

Back 36

perceptual, acoustic

Front 37

What serves as the sound source of the voice?

Back 37

the larynx (with air pressure)

Front 38

After the sound leaves the larynx, it goes into the:

Back 38

vocal tract

Front 39

What does the vocal tract do to the sound?

Back 39

it filters it

Front 40

The larynx needs the _____________ to provide the air pressure it needs to function.

Back 40

lungs

Front 41

The vocal tract doesn’t just remove things, it actually _____________________, ___________________ & _____________ some of the frequency components.

Back 41

resonates, enhances & strengthens

Front 42

In theory these 2 systems (________________ & _________________) operate independently of each other, but in reality they sometimes interact under certain circumstances.

Back 42

larynx & vocal tract

Front 43

What are 4 ways the sound source can vary?

Back 43

loudness, pitch, voice quality, phonation vs. whispering

Front 44

Low air pressure equals ____________ sounds, high air pressure equals ______________ sounds.

Back 44

softer, louder

Front 45

With ____________ air pressure, the larynx doesn’t have to adduct very tightly.

Back 45

low

Front 46

With _______________ air pressure, the vocal folds will have bigger movements -- muscle movement increases.

Back 46

high

Front 47

Stretching the vocal folds increases their _____________, which increases their ____________ frequency.

Back 47

tension, vibration

Front 48

To stretch the vocal folds, first you contract the __________ muscle, which then rocks the ______________ ____________ forward and stretches the vocal folds.

Back 48

cricothyroid, thyroid cartilage

Front 49

If you subtly adjust the space between the vocal folds, between the arytenoids, you can change your:

Back 49

voice quality

Front 50

Increasing the space between the vocal folds makes the voice more ____________.

Back 50

breathy

Front 51

If you press the vocal folds together more firmly you will get a __________ sounding voice.

Back 51

tighter

Front 52

What muscles contract in order to press the vocal folds together?

Back 52

the muscles of adduction (primarily the lateral cricoarytenoid and the thyroarytenoid).

Front 53

How do you create a whisper?

Back 53

By pushing air between the vocal cords to create turbulence without causing them to vibrate.

Front 54

A whisper requires the__________ to provide the source of air pressure and the __________ to provide the constriction in order to make the turbulence happen.

Back 54

lungs, vocal cords

Front 55

How do phonations differ from whispering?

Back 55

Phonation requires the vocal cords to vibrate during this process.

Front 56

What is the fundamental frequency at which the vocal cords vibrate?

Back 56

For men, it is about 100-120 times per second, for women it is double that.

Front 57

We perceive the fundamental frequency as the :

Back 57

pitch

Front 58

The voice is composed of a fundamental frequency or sine wave, and also a:

Back 58

series of harmonics

Front 59

What do you call integer multiples of the fundamental frequency?

Back 59

harmonics

Front 60

If the fundamental frequency is 100 Hz, the harmonics will be at:

Back 60

100, 200, 300, 400, 500, etc.

Front 61

If the fundamental is 200 Hz, the harmonics will be at:

Back 61

400, 600, 800, 1000, 1200, etc.

Front 62

The higher the voice, the greater the _________________ between the harmonics.

Back 62

spacing

Front 63

The larynx emits a whole:

Back 63

spectrum of sound

Front 64

As the fundamental frequency rises and falls, the spread of the harmonics will:

Back 64

increase and decrease.

Front 65

The higher harmonics tend to be _____________ in amplitude than the fundamental itself.

Back 65

weaker

Front 66

The gradual weakening of harmonics as they get higher results in a:

Back 66

harmonic spectral slope

Front 67

What is the strongest element in a spectral slope?

Back 67

The fundamental frequency

Front 68

Harmonics get weaker as they get:

Back 68

higher

Front 69

On a LARYNGEAL SOURCE SPECTRUM GRAPH, what is represented on the X axis?

Back 69

X = frequency in kHz

Front 70

On a LARYNGEAL SOURCE SPECTRUM GRAPH, What is represented on the Y axis?

Back 70

Y = amplitude

Front 71

The strength or energy of the signal that increases as you get higher up is called the:

Back 71

amplitude

Front 72

In a laryngeal source spectrum graph, each vertical line represents:

Back 72

one harmonic component.

Front 73

In a laryngeal source spectrum graph, the tallest line on the far left represents the _____________ ___________. The _______________ are equally spaced to the right.

Back 73

fundamental frequency, harmonics

Front 74

The _______________ of the harmonics decreases as you get into the higher frequencies.

Back 74

amplitude

Front 75

In a laryngeal source spectrum graph, the slope value represents:

Back 75

how sharply the harmonics drop off.

Front 76

If your graph shows 3 spectral slopes of 6 db, 12 db, and 18 db, which is closest to a normal voice?

Back 76

12 db

Front 77

If your graph shows 3 spectral slopes of 6 db, 12 db, and 18 db, which would represent a bright, brassy and resonant voice?

Back 77

6 db

Front 78

If your graph shows 3 spectral slopes of 6 db, 12 db, and 18 db, which would represent a weak and thin voice?

Back 78

18 db

Front 79

At the 6 db level of our graph, the harmonics are:

Back 79

relatively strong compared to the fundamental, almost as high in amplitude

Front 80

At the 18 db level of our graph, the harmonics do what?

Back 80

drop off sharply in the upper frequency range

Front 81

What does attenuation or anti-resonance of the vocal tract filter mean?

Back 81

That it can weaken or remove what comes out of the larynx.

Front 82

The vocal tract filter doesn't just remove sounds, it can also:

Back 82

resonate or echo sound.

Front 83

The __________ _____________ ____________ can increase the amplitude of some frequencies even as it weakens the amplitude of others.

Back 83

vocal tract filter

Front 84

The sound that leaves the ____________ ________________ has been substantially changed from what it was when it entered.

Back 84

vocal tract

Front 85

Tubes do not generate sounds, but they can __________ & ___________ sounds that are put into them.

Back 85

shape and alter

Front 86

What features of the tube allow resonance?

Back 86

its dimensions

Front 87

What type of tubes are the simplest to model?

Back 87

straight, uniform tubes

Front 88

The best resonance frequency of the tube (the one that causes it to resonate or echo the best) depends on its:

Back 88

length

Front 89

The best resonance you will get will be for sounds that have a wavelength that is:

Back 89

4 times that of the tube.

Front 90

A tube that is small will resonate _______ frequencies because they have a shorter wavelength, and a tube that is long will resonate ___________ frequencies because they have a longer wavelength.

Back 90

higher, lower

Front 91

The vocal tract is not a uniform tube; what are 2 things that vary?

Back 91

the diameter will vary along its length, and thus the cross-sectional area varies. And the length?

Front 92

Resonance frequencies in the vocal tract differ because:

Back 92

the vocal tract is not a uniform tube

Front 93

In the vocal tract, the specific sound features that change depend upon:

Back 93

where the constrictions are, and also whether they are relatively mild or severe constrictions.

Front 94

When the diameter of the tube suddenly _____________, some of the sound will actually be bounced back to where it came from, and another part will go on through.

Back 94

increases (because the nature of the resonance characteristics has changed)

Front 95

When the shape and diameter of the vocal tract changes, it changes the blend of ____________ and the strength of the different ______________ as they make their way through the tube.

Back 95

frequencies, components

Front 96

You change the size and shape of the vocal tract at various points along its length by moving your:

Back 96

articulators.

Front 97

When you move the tongue upward or downward or forward or backward, this changes the size of the _______________ in particular places.

Back 97

pharynx or oral cavity

Front 98

You can use the tongue to form constrictions, by:

Back 98

moving it towards the palate or the post pharyngeal wall.

Front 99

Why does moving your tongue cause the vocal tract's resonance to change?

Back 99

Because it alters the cross-sectional area.

Front 100

This is how different sounds are created, because their ______________ _______________ differ.

Back 100

acoustic features

Front 101

When you change the shape of your vocal tract, some frequencies are ______________ and others are ___________.

Back 101

boosted, attenuated (weakened)

Front 102

The way the sound has changed from larynx to lips is called the:

Back 102

Vocal Tract Transfer Function

Front 103

The constrictions of the ____________ ___________ will change according to the various sounds you are articulating.

Back 103

vocal tract

Front 104

When you reshape the vocal tract filter, you cause sounds to be ______________.

Back 104

altered

Front 105

Sounds are altered according to the size and shape of the _________________ that resonate the sounds that pass through the vocal tract.

Back 105

cavities

Front 106

The Vocal Tract Transfer Function refers to the change in sound between:

Back 106

entering the vocal tract and leaving the vocal tract, or the output minus the input.

Front 107

The sound that leaves the larynx is basically a _______________ wave form.

Back 107

sawtooth

Front 108

The resonating cavities between the ___________ and the ____________ turn the sawtooth waveform into different sounds, vowels, etc.

Back 108

larynx, lips

Front 109

The Vocal tract transfer function is a ___________ filter.

Back 109

variable

Front 110

The vocal tract filter is changing all the time as we move our:

Back 110

articulators.

Front 111

The _________________ _________________ determine the transfer function.

Back 111

resonating cavities

Front 112

A resonant peak in the vocal tract transfer function is called a:

Back 112

formant

Front 113

A formant occurs when some frequencies in a given range are:

Back 113

amplified to boost their prominence in the spectrum.

Front 114

For a given vowel, there can be _________________ formants.

Back 114

many

Front 115

Which formants are the most important for determining which vowel you are listening to?

Back 115

the first 2 or 3

Front 116

The formant is NOT a sound _____________.

Back 116

source

Front 117

A formant reflects the way the vocal tract is:

Back 117

shaping the sound coming from the larynx.

Front 118

When you look at the spectrum of the sound that leaves the person’s mouth, you can identify formants as:

Back 118

peaks in the spectrum.

Front 119

Formants result from the _____________ of the vocal tract filter.

Back 119

activity

Front 120

Formants are NOT a feature of the ____________ _____________of the larynx.

Back 120

sound source

Front 121

If you whisper, will there be formants?

Back 121

Yes

Front 122

When you whisper, you will have _____________ created due to the shaping of the cavities by moving the articulators.

Back 122

formants

Front 123

In THEORY, the glottal source and the vocal tract filter are ___________________ from each other.

Back 123

independent

Front 124

Without moving your articulators, you can change the fundamental frequency by:

Back 124

raising or lowering your pitch, causing the harmonics to change.

Front 125

You can pronounce a given vowel at high or low pitch, or adjust loudness, all while the _____________ ____________ configuration remains constant.

Back 125

vocal tract

Front 126

Even if you hold the same pitch, you can create different sounds by:

Back 126

moving your tongue or other articulators

Front 127

If you change the filter characteristics (moving your tongue, lips or jaw) while not changing what your larynx is doing – the fundamental frequency:

Back 127

remains the same.

Front 128

Can the source and vocal tract act independently?

Back 128

yes

Front 129

Can the source and vocal tract interact?

Back 129

yes

Front 130

There are some links between the source and vocal tract that cause them to behave:

Back 130

in a very coordinated way.

Front 131

If you target your treatment toward one part of the speech mechanism, will you see effects in other parts of the system that you did not directly treat?

Back 131

Yes, there are spillover effects.

Front 132

In Parkinson’s Disease, there is a condition called hypokinetic dysarthria, which is characterized by:

Back 132

a weak, monotone voice and imprecise consonant articulation.

Front 133

The Lee Silverman Voice Treatment focuses intensively on the larynx to improve:

Back 133

vocal loudness.

Front 134

If you increase the loudness of your voice, there is also an effect on the _____________ system and the ________________.

Back 134

respiratory, articulators

Front 135

Treating one aspect of speech, such as loudness, in order to improve other features as well, is called:

Back 135

1 stop shopping

Front 136

By treating the loudness of the speech only, you can avoid working with:

Back 136

the other disordered aspects

Front 137

____________________ can be considered the “global” treatment variable. Why?

Back 137

Loudness because it affects the whole treatment production mechanism even though the treatment focuses only on the loudness of the voice.

Front 138

What are some reasons that loudness can improve other features of speech?

Back 138

There are natural changes that accompany increasing the loudness of the voice, and most people have a lifetime of practice in changing the loudness of their voice.

Front 139

STI stands for:

Back 139

Spatial Temporal Index.

Front 140

STI can represent:

Back 140

variability in the speech samples.

Front 141

Hyperarticulate means to:

Back 141

exaggerate your speech movements

Front 142

In the Parkinson's Patients study, which patients showed improved speech: hyperarticulaters or loud speakers?

Back 142

loud speakers

Front 143

We can conclude that speech production is more natural, consistent, and predictable when a person is ____________ ______________ rather than if they are deliberately concentrating on ____________ __________ _____________.

Back 143

speaking loudly, moving their articulators.

Front 144

What are some other drawbacks to having patients concentrate on moving their articulators deliberately?

Back 144

requires more cognitive attention and is more difficult for elderly patients.

Front 145

In the Parkinson's study, the loud samples have less __________________ and the speech is more ________________ & ______________.

Back 145

variability, natural and straightforward.

Front 146

In hypokinetic dysarthria, the movements tend to be rather shrunken or small, and so increasing their amplitude can:

Back 146

make the patient's intelligibility much better.

Front 147

In the Parkinson's study, were the movements in the loud speech smaller than those in the hyperarticulate sample?

Back 147

no, they were just as large.

Front 148

With loud speech, you not only get a louder stronger voice, you also get:

Back 148

more precise articulation.

Front 149

Hyperarticulation requires a lot of ___________ and you don’t get any particular ____________.

Back 149

effort, benefit

Front 150

The Parkinson's study shows us that by changing vocal function (increasing loudness) you can reap benefits in _____________ _______________, without having to directly treat _____________.

Back 150

oral articulation, articulation

Front 151

By treating loudness, articulation improvement is a positive ____________ _____________. The ________ has influenced the filter in this case.

Back 151

side effect. Source

Front 152

Spasmodic dysphonia is a neurological voice disorder (neurolaryngological disorder) where the brain sends signals through the laryngeal nerve to the larynx and these signals lead to ___________ during voice production.

Back 152

spasms

Front 153

In spasmodic dysphonia, the voice has a very _____________ & ___________ sound intermittently during speech.

Back 153

strained and strangled

Front 154

The current treatment for spasmodic dysphonia is for a physician to inject Botox into the :

Back 154

thyroarytenoid muscle.

Front 155

Botox treatment for spasmodic dysphonia partially paralyzes the muscle, so that it cannot respond to the _________ ____________ that travel down the nerve to that muscle.

Back 155

incorrect signals

Front 156

After _______________ treatment for spasmodic dysphonia, the muscle can no longer tighten up and crampen and strangulate the speech.

Back 156

botox

Front 157

After botox treatment for spasmodic dysphonia, the correlation of ______________ ___________ improved quite a bit.

Back 157

lip movement

Front 158

In the Botox/spasmodic dysphonia experiment, they treated the voice by injection to the larynx and got improved outcomes in :

Back 158

articulatory behavior.

Front 159

The botox/spasmodic dysphonia experiment results are an example of the ____________ influencing the ___________.

Back 159

source, filter

Front 160

In Muscle Tension Dysphonia, patients also have a ____________ ______________ sounding voice.

Back 160

strained strangled

Front 161

Muscle Tension Dysphonia is caused by:

Back 161

muscle tension in the neck, including the muscles of the larynx.

Front 162

In this disorder, there is excessive neck muscle activity:

Back 162

Muscle Tension Dysphonia

Front 163

Muscle Tension Dysphonia can be treated by:

Back 163

circumlaryngeal massage therapy

Front 164

This treatment involves the clinician actually moving the larynx further down in the neck as the patient phonates.

Back 164

circumlaryngeal massage therapy

Front 165

After circumlaryngeal massage therapy, a post treatment spectrogram shows greater flexibility in _____________ ______________ during speech production.

Back 165

lingual movement

Front 166

The Muscle Tension Dysphonia experiment results are an example of how treatment of the ____________ influences the movement of the ____________.

Back 166

larynx, tongue

Front 167

Why does working on the sound source yield benefits in the vocal tract filter behavior?

Back 167

Because there can be neural and biomechanical linkage between them. They’re controlled by the brain in such a way that the activity of one is closely coordinated with the activity of the other.

Front 168

The sound source and the vocal tract filter typically behave as a:

Back 168

unit

Front 169

Sound itself is not digital; it's the way we __________ the sound.

Back 169

store

Front 170

_____________ ______________ tends to make a clearer, higher quality copy of the sound.

Back 170

Digital storage

Front 171

Can your ears hear digits?

Back 171

NO

Front 172

Music is stored in __________ form but it is played back in ________ form.

Back 172

numeric, analog

Front 173

‘Analog’ means ‘________________’ – one phenomenon is represented by another.

Back 173

analogy

Front 174

The height of the mercury in a thermometer represents, or is _____________ to, the temperature .

Back 174

analogous

Front 175

The microphone’s sound signal that travels through a wire is analogous to, or represents, the :

Back 175

sound pressure coming through the air that reaches the microphone.

Front 176

The microphone ___________ represents sound.

Back 176

voltage

Front 177

large positive voltage = air _____________

Back 177

compression

Front 178

large negative voltage = air ______________

Back 178

rarefaction

Front 179

A microphone is a ________________ – it is converting _____________ from one form to another.

Back 179

transducer, energy

Front 180

The sound pressure vibrations that reach the microphone are converted by the microphone into a rapidly changing ___________ _______________

Back 180

electric signal.

Front 181

Any change in __________ _____________ that causes the internal mechanism of the microphone to move will result in a commensurate change in ____________ .

Back 181

air pressure, voltage

Front 182

The microphone's voltage will change at the same_____________ and in an ____________ proportional to the size of the sound that came in.

Back 182

frequency, amplitude

Front 183

The __________ _____________ going through the microphone’s wire is an analog representation of the sound pressure that the microphone picked up.

Back 183

electrical signal

Front 184

The microphone's electrical signal is a precise representation of the:

Back 184

signal coming in

Front 185

If you recorded a sine wave, you would have an electrical sine wave in the wire.

Back 185

sine wave

Front 186

If you were recording phonation, you would have a ____________ ______ of electrical signal in the wire.

Back 186

periodic type

Front 187

If you were recording noise, you would have a ______________ signal in the wire.

Back 187

“noisy”

Front 188

A signal that is rapidly & randomly changing would be called:

Back 188

noise

Front 189

What are the 2 most important characteristics of analog signals?

Back 189

continuous in time and continuous in amplitude

Front 190

If you were to examine or zoom in on continuous analog signals at any level of detail, you would not find any ___________ in the recording.

Back 190

gaps

Front 191

a line drawn on a page or a microphone signal in a wire are examples of what type of signal?

Back 191

analog

Front 192

An analog recording can represent what 2 things?

Back 192

an infinite number of points in time and an infinite number of amplitude values between the minimum and the maximum

Front 193

An ____________ signal CANNOT be fully represented by a table of numbers.

Back 193

analog

Front 194

To represent a signal, each row in a table of numbers would represent the amplitude at a :

Back 194

given point time

Front 195

You cannot have an infinite number of rows to reflect the infinite number of time intervals that there are in a truly ______________ signal.

Back 195

continuous (analog)

Front 196

What could represent an analog signal "truly"?

Back 196

a graph

Front 197

What are some COMMON ANALOG DEVICES ?

Back 197

Clocks with hands, watches with hands, mercury thermometer, tape measures (markings only limited by your eyesight), cassette recorder (magnetic impressions on the tape), dimmer switch on a light (infinitely variable, continuous)

Front 198

In what 2 areas are digital recordings discrete?

Back 198

in time and in amplitude

Front 199

Digital signals are made up of a series of _____________ _____________ recorded in one long string.

Back 199

separate numbers

Front 200

The numbers of a digital recording represent ______________ over time.

Back 200

snapshots

Front 201

in a digital signal, the ____________ themselves have finite precision – there are a limited number of ___________ __________, which could be many or few.

Back 201

numbers, decimal places

Front 202

If you were to write down all the numbers of a digital recording, you could fully represent it by a:

Back 202

table of numbers.

Front 203

The limitations of digital recordings are that there are _____________ between the points.

Back 203

‘unknowns’

Front 204

But actually, if the individual sample points are close enough together in time, it is almost as if the sample were:

Back 204

continuous

Front 205

Name 3 common digital devices:

Back 205

digital clock, computer, compact disc

Front 206

Computers and compact discs store data as:

Back 206

ones and zeros

Front 207

The analog signal from the wire has to be converted to ____________ in order to be used by a computer, etc. , and vice versa.

Back 207

numbers

Front 208

Going from a microphone to a computer is an example of ____________________ conversion.

Back 208

analog to digital (ADC)

Front 209

Going from a CD to the speakers is an example of ______________ conversion.

Back 209

digital to analog (DAC)

Front 210

PC sound cards belong to which type of conversion ?

Back 210

both ADC and DAC

Front 211

Computers only deal with __________ data.

Back 211

binary

Front 212

Binary data contains only:

Back 212

ones and zeros

Front 213

Microphones and speakers are ____________ devices.

Back 213

analog

Front 214

Sound is an _______________ function.

Back 214

analog

Front 215

The frequency with which the numbers are recorded to represent amplitude values of the sound you are recording is called:

Back 215

the sampling rate

Front 216

To better represent the original signal, you should take _____________ samples.

Back 216

more

Front 217

The frequency of snapshots in a digital recording is called the:

Back 217

Sampling Rate.

Front 218

The sample rate is specified in:

Back 218

Hz

Front 219

If you take 10 samples/snapshots in a second, that would be a ________ recording.

Back 219

10 Hz

Front 220

A very low sample rate produces a ____________ recording.

Back 220

poor

Front 221

If the original sample contains many rapid changes, your sample rate must be ________ in order to capture those changes.

Back 221

higher

Front 222

A higher sampling rate gives better:

Back 222

fidelity

Front 223

A higher sampling rate requires ___________ files.

Back 223

bigger

Front 224

What are 3 disadvantages of a higher sample rate requiring bigger files?

Back 224

1. more memory usage 2. more disk space for storage 3. more processing time for computation

Front 225

The ‘Nyquist’ frequency is :

Back 225

half the sample rate.

Front 226

The Nyquist frequency represents the highest frequency you can :

Back 226

record and then accurately play back.

Front 227

You will sample at twice the rate of the ____________ _______________ in the signal.

Back 227

highest frequency

Front 228

For example, if you want to record a signal accurately up to 100 hz, you must sample at :

Back 228

200 Hz.

Front 229

For example, if you want to record a signal accurately up to 5 hz, you must sample at :

Back 229

10 khz

Front 230

The sample rate for compact discs is ____________ samples per second, or __________ kHz.

Back 230

44,100, 44.1

Front 231

Since the sample rate for a compact disc is 44,100 samples per second, it can store signals up to ______________Hz, and play back sounds up to _________________ Hz.

Back 231

22,050 , 22,050

Front 232

The upper limits of most people’s hearing capacity is about:

Back 232

22,050 Hz

Front 233

On a digital recording device, the highest quality setting gives you the ____________ amount of time to record.

Back 233

shortest

Front 234

Why does a high quality setting give you the shortest amount of time to record?

Back 234

Because it uses more data and takes up more space on the device.

Front 235

A higher sampling rate = higher _____________.

Back 235

quality

Front 236

Before we can do decent ___________, we must make sure the recordings themselves are good.

Back 236

analysis

Front 237

What are 4 things you must have to obtain a good recording:

Back 237

1. a quiet recording environmnet 2. use a quality microphone 3. good signal strength 4. proper sample rate

Front 238

How can make your recording environment more quiet?

Back 238

Reduce reverberation & echoing from hard surfaces in the room.

Front 239

To have good signal strength, you must make sure that the info you want is not :

Back 239

lost in noise

Front 240

Saturation = the signal as it:

Back 240

comes into your recorder

Front 241

If the signal is too tiny, it won't be audible over:

Back 241

background noise

Front 242

To make sure you signal is a good strength, you can do what 2 things:

Back 242

1. adjust the recording input level 2. adjust the distance between the microphone and the subject

Front 243

Be sure not to clip the signal by:

Back 243

bringing it in at too high a level

Front 244

If the strength of the signal coming in is bigger than your recording device can accommodate, the signal will be:

Back 244

badly distorted

Front 245

If the signal is ____________ _____________, you won’t be able to do any decent acoustic analysis .

Back 245

badly distorted

Front 246

Driving the signal too hard can cause ______________ which causes _____________.

Back 246

clipping, noise

Front 247

If you have enough memory space, it’s better to use a ___________ sample rate .

Back 247

higher

Front 248

You can always downsample later, but you can never :

Back 248

upsample and replace info that wasn’t in your recording.

Front 249

All ____________ has to do with the vibration of air molecules around you.

Back 249

sound

Front 250

Give 3 examples of sound originating with movement:

Back 250

1. vibrating string of an instrument 2. oscillation of the vocal folds 3. turbulance of air molecules leaving a tire

Front 251

Why does a vibrating string create sound?

Back 251

it causes the air molcules around it to oscillate.

Front 252

Why does the oscillation of the vocal folds create sound?

Back 252

it chops the air into small pulses; they oscillate the air in the vocal tract as well as the air between the speaker and listener

Front 253

Why does air leaving a tire create sound?

Back 253

the air molecules are trying to leave through a very small hole and bounce against each other, creating turbulence

Front 254

In speech production, there are many structures that contribute to the way the sound is generated. We talk about this as having:

Back 254

Many degrees of freedom

Front 255

What are three principles of sound:

Back 255

1. all sounds originate with movement 2. the movement characteristics determine the nature of the sound 3. speech production has many degrees of freedom

Front 256

In speech production, there are many different elements that can be individually adjusted to create the exact sound that you hear. Name two:

Back 256

voice/larynx, articulators

Front 257

The speech waveform is complex because:

Back 257

there are so many structures that can contribute to the way it’s generated.

Front 258

Name 2 benfits of acoustic analysis:

Back 258

1. it's noninvasive 2. from the changes in the signal we can draw inferences about the movements that generated the sound

Front 259

One of the greates benefits of acoustic analysis is:

Back 259

that it's noninvasive; we don't have to attach any transducers to the person's vocal tracts, etc.

Front 260

A disordered voice indicates:

Back 260

disordered vocal fold movement

Front 261

changes in vocal fold movement causes a change in the sound's:

Back 261

source

Front 262

Distorted or imprecise articulation indicates:

Back 262

abnormal movement of the articulators

Front 263

A change in movement of the articulators causes a change in the sound's:

Back 263

filter

Front 264

We can get a very rich level of detail from something as simple as a microphone recording, if we apply the appropriate:

Back 264

analysis techniques.

Front 265

The acoustic patterns reflect the vocal tract movements with some ambiguity, because of :

Back 265

Motor Equivalence.

Front 266

Motor Equivalence means that:

Back 266

the same sound can be produced several physical ways.

Front 267

You could move the articulators in slightly different ways and still have:

Back 267

the same end result.

Front 268

Acoustic analysis cannot always distinguish with any level of precision between:

Back 268

different types of articulatory movements

Front 269

Acoustics cannot reveal all details of:

Back 269

Movement

Front 270

You can’t tell how many mm a tongue moved upward or forward when a person:

Back 270

articulated a given sound.

Front 271

Acoustic analysis doesn’t reflect the movements that caused the sound in a ____________________ way.

Back 271

perfectly linear, one to one

Front 272

There are some limitations in getting calibrated, physical measures of articulatory behavior from a microphone signal because there are:

Back 272

several different structures working at once to contribute to the way that sound was made.

Front 273

What are the 2 main limitations of acoustic analysis?

Back 273

1. It reflects the vocal tract movments with some ambiguity because of Motor Equivalence. 2. It cannot reveal all the details of movement.

Front 274

Speech Sounds Contain Many :

Back 274

Frequencies

Front 275

A _________________ _______________ allows us to be selective in which frequencies we keep for analysis.

Back 275

speech filter

Front 276

If you want to understand the impact of having hearing loss in a certain range, you could filter out _______________ _______________ in a speech sample of normal speech.

Back 276

certain frequencies

Front 277

What are 4 filter types?

Back 277

High pass, low pass, band pass, band reject

Front 278

Which filter allows high frequencies through and holds back lower frequencies?

Back 278

high pass filter

Front 279

Which filter allows low frequencies through and holds back higher frequencies?

Back 279

low pass

Front 280

Which filter allows a middle band of frequencies through and holds back both higher and lower frequencies?

Back 280

band pass

Front 281

Which filter holds back a middle band of frequencies and allows both higher and lower frequencies through?

Back 281

band reject

Front 282

What is a main reason to use a band reject filter?

Back 282

to remove unwanted noise

Front 283

If you contaminated an original signal with a 300 hz tone, what type of filter would you use to remove the unwanted noise?

Back 283

a band reject filter to filter out the 300 hz tone

Front 284

Which type of band reject filter, wide or narrow, would least impact the quality of the speech sample?

Back 284

narrow band

Front 285

In a ____________________ filter , you would be deleting a number of frequencies that would be important for speech perception.

Back 285

wide band

Front 286

What is a main reason to use a band pass filter?

Back 286

To show each frequency and it's energy.

Front 287

This type of filter was used in the early days of speech analysis because they helped us understand which frequencies were present in the speech sample:

Back 287

band pass filter

Front 288

A band pass filter yields a crude idea of the ____________________ of a certain sound.

Back 288

ingredients list / frequencies

Front 289

Remember that it’s difficult to tell where the regions of high or low energy lie, just by:

Back 289

listening to the sound

Front 290

Some of the early pioneers in acoustic analysis employed techniques like these different _____________________ to understand whether the energy was in the lower part of the frequency range, the middle range, or the higher range for a certain sound.

Back 290

band-pass filters

Front 291

A _______________ filter passes a signal through sets of filters like these: 0 - 300 Hz, 300 - 600 Hz, 600 - 900 Hz, etc…

Back 291

band pass

Front 292

This type of filter allows you to move from low to high frequencies as the frequency is being analyzed:

Back 292

variable band pass filter

Front 293

The meter at the right hand side of a variable band pass filter represents :

Back 293

how strong the energy is at any given frequency level that you analyze

Front 294

Band Pass Filters can be these 2 types:

Back 294

Fixed and Variable

Front 295

A Fixed Band Pass filter looks at:

Back 295

a series of band pass filters, one at a time.

Front 296

A variable band pass filter can:

Back 296

move from low to high frequencies as the frequency is being analyzed.

Front 297

In order to do either type of band pass filter analysis, the researcher would need to play the sound again and again, looking at :

Back 297

a different frequency each time in order to compare the energy for each.

Front 298

A band pass filter can give you information about the __________ of the different frequencies in a given sound.

Back 298

strength

Front 299

You could say that _____________ ______________ is a little like looking for the ingredients in a complex sound.

Back 299

acoustic analysis

Front 300

What does acoustic analysis do?

Back 300

splits up a complex sound into its component sounds

Front 301

A complex sound has ______________ _____________ – we don’t speak in sine waves!

Back 301

many ingredients

Front 302

The _____________________ _________________ of the components make one sound different from another – they alter its quality perceptually.

Back 302

relative proportions

Front 303

Altered proportions = altered ___________.

Back 303

quality.

Front 304

You could have the same frequency ingredients – some higher and some lower in amplitude – for one type of sound, and if you adjusted the _________________ of those frequencies you would get a different type of sound.

Back 304

amplitude or proportion

Front 305

Joseph Fourier was a ____________________________ who lived from 1768-1830.

Back 305

French mathematician & physicist

Front 306

Fourier came up with a way of analyzing complex signals and :

Back 306

decomposing them or splitting them into a series of component frequencies.

Front 307

This person's great contribution was to show that even complex sounds can be broken down into their individual sinusoid components.

Back 307

Joseph Fourier

Front 308

All _____________ sounds are made of a combination of sine waves. (component frequencies)

Back 308

periodic

Front 309

What are 3 ways that individual sine waves may vary?

Back 309

1. amplitude 2. phase angle 3. frequency

Front 310

What does phase angle of a frequency mean?

Back 310

where they are in the cycle relative to one another

Front 311

What is a Fourier Transform?

Back 311

when we use the techniques that Fourier developed

Front 312

A Fourier Transform creates a ___________ from a _______________ waveform (such as a microphone signal).

Back 312

spectrum, time domain

Front 313

A spectrum of a signal shows us:

Back 313

what the individual components are.

Front 314

What you see when you have a microphone recording on a screen in front of you is ________________ __________ data.

Back 314

time domain

Front 315

In a time domain data waveform, you will have ___________ on the X axis and __________ on the y axis.

Back 315

time, amplitude

Front 316

If you subject a time domain waveform to a Fourier Transform, what you get is a ______________ _____________ Display that shows you a ____________.

Back 316

Frequency Domain, spectrum

Front 317

A _______________ represents a slice in time, or a snapshot in time.

Back 317

spectrum

Front 318

A spectrum has ________ on its X axis and _______ on its Y axis.

Back 318

frequency, amplitude

Front 319

The Fourier Transform is a way from going from one view of a signal to another view – from the ___________ domain to the __________ domain.

Back 319

time, frequency

Front 320

In an audio signal, the voltage of the signal increases and decreases in proportion to the :

Back 320

sound pressure of the wave.

Front 321

A waveform that repeats regularly and has multiple sine wave components is a :

Back 321

periodic wave

Front 322

2 characteristics of time domain data are that:

Back 322

a waveform represents sound directly and air pressure changes over time

Front 323

In a spectrum display, each column represents:

Back 323

one of the frequency components

Front 324

A ________________ ________________ splits out the individual sounds from the combined total.

Back 324

specrum display

Front 325

In a spectrum display, when you play all of the frequencies together, it will sound the same as a:

Back 325

time domain waveform

Front 326

In a spectrum display, if you play each frequency separately, they will sound:

Back 326

different from each other

Front 327

Two great benefits of a Frequency Domain display are that it can:

Back 327

show us what the individual components are and show us the relative proportions of each component

Front 328

In a spectrum display, the height of each bar represents the :

Back 328

strength of each of the components.

Front 329

A spectrum shows ___________ ___________ data.

Back 329

frequency domain

Front 330

A line spectrum shows the frequency components of a:

Back 330

periodic sound

Front 331

In a _____________ ___________, there is no energy between the individual harmonic components that make up the entire spectrum.

Back 331

periodic signal

Front 332

The sound source that comes out of the larynx is very similar to a ___________ signal, but there is also some __________ mixed in it.

Back 332

periodic, noise

Front 333

The _____________ ____________ is nearly periodic.

Back 333

human voice

Front 334

The human voice has a fundamental and then ________ which are multiples of that fundamental.

Back 334

harmonics

Front 335

In the human voice, the upper harmonics get progressively ___________ as you go up in frequency.

Back 335

weaker

Front 336

A PERIODIC SIGNAL SPECTRUM is a _____________ ______________ description of the signal.

Back 336

frequency domain

Front 337

In a time domain display, __________ is represented from left to right.

Back 337

time

Front 338

In a line spectrum, the peaks represent:

Back 338

the individual harmonic components of this signal.

Front 339

If you make your voice softer or louder, you’ll see some changes in the relative strength of the :

Back 339

harmonics.

Front 340

If you raise and lower your voice pitch, you’ll see the _________ spreading apart from one another or coming back together as the pitch comes back down again.

Back 340

harmonics

Front 341

If you had a ____________ __________ __________, there would only be one line in your display. _________ __________ ______________ would have multiple lines in the display.

Back 341

simple sine wave, complex periodic signals

Front 342

Noise is when: (3 things)

Back 342

1. all frequencies are present 2. with various different phase relationships to each other (random phase) 3. with approximately equal amplitude.

Front 343

Name 4 types of noise:

Back 343

white noise, pink noise, brown noise, multi-talker noise

Front 344

A spectral envelope shows us:

Back 344

the relative strength of the different frequency components in the noise.

Front 345

A ____________ _____________ encloses an area that would have been completely filled in by those vertical lines that represent the individual sine waves.

Back 345

spectral envelope

Front 346

The voice source is not truly :

Back 346

periodic. (it is NEARLY periodic)

Front 347

A spectrum does not have pure lines; instead it has:

Back 347

peaks

Front 348

In a voice signal, there will be some ___________________ around the fundamental and harmonics

Back 348

spread of energy

Front 349

The spread around the fundamental and harmonics represents the _________________________ that is present in every human voice.

Back 349

imperfections or noise

Front 350

In a voice signal, if it’s not a harmonic, then it’s _____________-.

Back 350

noise.

Front 351

A ratio of the height of these harmonic components to the level of noise between them is called a:

Back 351

Harmonics to Noise ratio

Front 352

What are the two major kinds of spectra?

Back 352

FFT and LPC

Front 353

What does FFT stand for?

Back 353

Fast Fourier Transform

Front 354

What does LPC stand for?

Back 354

Linear Predictive Coding

Front 355

The FFT shows us the:

Back 355

range of harmonics that are present in each sound

Front 356

In an FFT spectrum, there is a peak for each of the:

Back 356

harmonics

Front 357

An FFT does not show us ___________ very well.

Back 357

formants

Front 358

This type of display is useful for displaying features of the sound source, but not so much about the vocal tract filter:

Back 358

FFT spectrum

Front 359

This type of display shows a spectral envelope, but not individual harmonics:

Back 359

LPC spectrum

Front 360

With an LPC spectrum, you don’t get details of the :

Back 360

sound source

Front 361

This type of display can be quite revealing of what the vocal tract filter is doing – how the vocal tract shapes the sound given to it by the larynx:

Back 361

LPC spectrum

Front 362

Different vowel __________ show different energy regions.

Back 362

formants

Front 363

What are formants?

Back 363

resonant energy peaks in the vocal tract transfer function

Front 364

This vocal tract _____________ _____________ applies whether the sound coming into it is periodic (or almost) and phonated, or whether it’s merely being whispered.

Back 364

transfer function

Front 365

The formants you see in the vocal tract will be present because of the way you have :

Back 365

shaped the vocal tract.

Front 366

Formants will be the same whether the sound is being ___________ or ____________.

Back 366

phonated, whispered

Front 367

This type of display can show you what the vocal tract's resonance frequencies are relative to one another.

Back 367

LPC spectrum

Front 368

An FFT spectrum shows _______________ ________ that are harmonic components.

Back 368

individual peaks

Front 369

The peaks in an FFT spectrum are spaced equally because they are:

Back 369

multiples of the fundamental.

Front 370

An LPC spectrum shows peaks that represent:

Back 370

the formants

Front 371

The first 3 formants of an LPC spectrum can help us:

Back 371

identify a vowel

Front 372

The LPC spectrum reveals details of the:

Back 372

sound FILTER

Front 373

The FFT spectrum reveals details of the:

Back 373

sound SOURCE

Front 374

A ___________ spectrum will not tell us if a sound is pure or disordered.

Back 374

LPC

Front 375

A _________________ shows the ingredients of a sound at a single point in time.

Back 375

spectrum

Front 376

A _____________________________ shows the progression of a signal over time.

Back 376

time domain display

Front 377

A ______________ shows us how the frequency components of a sound changed over time.

Back 377

spectrogram

Front 378

A spectrogram which can show us individual ___________ __________ that are arranged side by side over time.

Back 378

spectral slices

Front 379

As we speak, we are producing, in rapid succession, a whole series of sounds that differ from one another in their :

Back 379

spectral characteristics.

Front 380

A spectrogram is sometimes called a:

Back 380

3D spectrogram

Front 381

Why did the 3D spectrogram get that name?

Back 381

because it can display 3 different parameters at a time:

Front 382

What 3 parameters can a spectrogam display?

Back 382

Time, Frequency, and intensity

Front 383

A spectrogram shows ________ on the X axis and ___________ on the Y axis.

Back 383

time, frequency

Front 384

On a spectrogram, Whether the trace is lighter or darker represents the __________ of the signal.

Back 384

INTENSITY

Front 385

On a spectrogram a darker trace = stronger:

Back 385

intensity or amplitude

Front 386

A _____________ is kind of a hybrid domain display since it shows both time and frequency.

Back 386

spectrogram

Front 387

A ____________ shows us how the strength in each range of frequencies is changing or evolving over time.

Back 387

spectrogram

Front 388

A _________________ display is rather rich in information because it shows frequency changes over time and the changes in amplitude of those components – whether they are strong or weak.

Back 388

3D spectrographic

Front 389

Spectrograms are made from digital recordings, and so the frequency display on the Y axis is limited to the highest frequency component you were able to save and reproduce, the:

Back 389

Nyquist frequency.

Front 390

If you are interested in looking at _____________ _______________ speech on a spectrogram, you must at least double the sample rate, and maybe even give it a little bit more.

Back 390

high frequency

Front 391

If you were interested in fricative energy that might go all the way up to 12-14 kHz, you’d have to make sure that the sample rate of your digital recording was at least _________________________ to make sure that you include all of that interesting fricative energy.

Back 391

double this amount --maybe 25-30 kHz

Front 392

If you only care about the info from ___________________, then you could sample at 8-10000 Hz.

Back 392

0-4000 Hz

Front 393

If you sample at too low of a rate, there’s no way to :

Back 393

recover info that you never had in your recording.

Front 394

What is one analysis parameter you can adjust?

Back 394

bandwidth

Front 395

A ___________ ______ spectrographic analysis gives you good TIME, or temporal detail.

Back 395

wide band

Front 396

A wide band spectrographic analysis can show you individual events that are very ____________, and resolve those with great accuracy.

Back 396

brief

Front 397

A ___________ ________ spectrogram tends to blur things together over time, but it gives you extremely good FREQUENCY resolution.

Back 397

narrow band

Front 398

Which kind of spectrogram display would show individual frequency components, separate from one another?

Back 398

narrow band

Front 399

Unfortunately, the laws of physics prevent us from having good_______ AND _____________ detail on a 3D spectrogram display.

Back 399

time, frequency

Front 400

The software takes in ____________________ in order to provide the display, and you need more and more ____________ to get a good idea of what frequency components are present and to separate them.

Back 400

strings of numbers, numbers

Front 401

If you want to look at only brief events in time, these will occur over very few samples in a _____________________________.

Back 401

string of numbers.

Front 402

You can have good TIME resolution OR good FREQUENCY resolution, but you can’t have :

Back 402

both at the same time.

Front 403

A 300 Hz bandwidth is what we refer to as a ______________ ____________ spectrogram.

Back 403

Wide Band

Front 404

In a spectrogram, the vertical striations or thin vertical lines, represent:

Back 404

each glottal pulse as it occurs in voicing.

Front 405

Because you have a high level of detail and you can see events as brief as individual glottal pulses, you can make very good _________________ from a wide band display.

Back 405

time measures

Front 406

On the wide band spectrogram, the X axis represents ___________ and the Y axis represents ____________.

Back 406

time, frequency

Front 407

A 45 Hz bandwidth is what we refer to as a ________________ spectrogram.

Back 407

narrow band

Front 408

In a narrow band display, we can no longer see the individual :

Back 408

vertical striations that represent glottal pulses

Front 409

On a narrow band display, you can see horizontal, almost parallel, lines called:

Back 409

HARMONICS

Front 410

The wide-band display could not show harmonics because:

Back 410

it couldn’t give us good frequency detail

Front 411

In a ____________________ display, we have extremely GOOD FREQUENCY DETAIL.

Back 411

narrow band

Front 412

In a narrow band display, we can tell the _______________ apart from one another.

Back 412

harmonics

Front 413

Which type of spectrogram shows individual vertical glottal pulses (vertical striations) and has good TIME resolution?

Back 413

wide band

Front 414

Which type of spectrogram shows horizontal lines that represent HARMONICS of the voice, and separates them out… It has –good FREQUENCY resolution?

Back 414

narrow band

Front 415

From looking at a spectrogram, you can get a _____________ idea of what’s going on in the voice –kind of like looking at an ______________.

Back 415

qualitative, X-ray

Front 416

The larynx and vocal tract differ _________________ from one person to the next, which influences the ____________ of the sounds the person will produce.

Back 416

anatomically, acoustics

Front 417

There are structural _______________ that cause the uniqueness of your own voice.

Back 417

differences

Front 418

Function, or the way we use our _____________________, can also contribute to our dialect or other features of our voice which are not anatomically based.

Back 418

articulators, etc.

Front 419

In speech therapy, a lot of the work we do involves helping people change the function of their _____________. We don’t really get involved with ________________ changes.

Back 419

articulators, structural

Front 420

In speech therapy, we work on altering the way the client uses his structures to improve ____________ __________.

Back 420

sound output.

Front 421

You can judge a person you hear by their ______________; whether they are older, younger, healthy, sick, how they feel.

Back 421

voice

Front 422

A person's voice ______________ come through the acoustic signal.

Back 422

characteristics

Front 423

We can study voice features such as __________________________ to understand more about how people speak differently.

Back 423

prosodic variables or vowel dialect variables

Front 424

Women’s voices are about ____________________ in their fundamental frequency than men’s are.

Back 424

an octave higher

Front 425

What is the main reason that women's voices are typically higher than men's?

Back 425

Anatomy -- the men’s vocal cords are larger.

Front 426

However, even when a man raises his pitch to sound like a woman, it is still not very convincing. There are other features that contribute to the difference: (name 4)

Back 426

1. vocal fold closure patterns 2. harmonic spectral slope 3. differences in noise between the formants 4. the frequency values of those formants

Front 427

What is spectral slope?

Back 427

The amplitude of the harmonics resulting from vocal fold vibration falls off by 12 dB per octave. This means that each time the frequency doubles, the amplitude of the harmonics decreases by 12 dB. This is called the spectral slope (or tilt or roll-off) in the source spectrum.

Front 428

The frequency values of the formants are based on the _______ of the vocal tract.

Back 428

size

Front 429

Why are vowels and diphthongs interesting to speech scientists?

Back 429

Because they tend to carry the greatest amount of energy in speech.

Front 430

In theory, when you produce a vowel: The vocal tract shape can be held constant, and a vowel can be prolonged as long as you have breath – the vowel is _______________ _______________.

Back 430

TIME INVARIANT.

Front 431

During the time you are sustaining a ____________ production, one point in time looks like any other, acoustically.

Back 431

vowel

Front 432

___________________ are usually produced very briefly.

Back 432

consonants

Front 433

What determines the particular vowel that we will be producing at a certain moment?

Back 433

the shape of the vocal tract or the configuration of the articulators .

Front 434

The output from the _____________ is basically the same for every sound we produce (plays an electrical buzzing type sound).

Back 434

larynx

Front 435

What makes one vowel different from another?

Back 435

The frequencies of the formants are different for each one.

Front 436

The ____________ spectrum reveals features of the vocal tract transfer function.

Back 436

LPC

Front 437

The LPC spectrum shows what the ____________ ____________ has done to the sounds that were given to it.

Back 437

vocal tract

Front 438

In the LPC display, formants are represented by:

Back 438

peaks

Front 439

The exact locations of these _________________ allow us to distinguish between the different vowels that are being produced

Back 439

formants

Front 440

F1, F2 & F3 differ across _____________.

Back 440

vowels.

Front 441

In a spectral display, the numbering order of these formants goes from:

Back 441

left to right

Front 442

Usually you can identify the vowel from the _________________________, even with synthetic speech.

Back 442

first 2 formants

Front 443

You could generate speech with a computer, by allocating certain _________________ ______________ that correspond to the formants.

Back 443

frequency prominences

Front 444

A computer can generate an F1 and F2 by:

Back 444

giving more energy to those frequency ranges

Front 445

The locations of the _______________ – where you put them on the spectrum -- will allow the listener to perceive the vowel as being an /u/ or an /i/ or an /a/.

Back 445

the formants

Front 446

_______________ formants tend to make the vowels sound more natural.

Back 446

The higher formants – F3, F4, F5 and so on

Front 447

If you don’t include the higher formants in generated speech, it will sound rather ___________________.

Back 447

robotic.

Front 448

Formants are:

Back 448

peaks in the vocal tract transfer function

Front 449

As energy passes through the vocal tract, there are certain ___________ that are favored, and other frequencies that are weakened or attenuated.

Back 449

frequencies

Front 450

The __________________________ will dictate what frequencies are favored (or echoed or resonated) and which are not.

Back 450

size of the resonator

Front 451

Think of the pipes of an organ – the small pipes will play __________ notes and the large pipes play ________ notes.

Back 451

higher, lower

Front 452

The vocal tract is made up of different _______________ cavities.

Back 452

resonating

Front 453

The resonating cavities of the vocal tract differ in their size and shape depending on how you move your ____________.

Back 453

articulators

Front 454

_____________ frequencies will differ depending on the articulatory configuration.

Back 454

Formant

Front 455

When you reach a formant peak in the vocal tract, energy in that vicinity – in that frequency range – will be _____________________________ so that it comes out of the mouth at a much higher amplitude.

Back 455

amplified or boosted

Front 456

Frequencies that occur in a trough of the vocal tract transfer function tend to be:

Back 456

filtered out or weakened.

Front 457

______________ ______________is more efficient at the formants.

Back 457

Energy transfer

Front 458

Remember that we can identify a vowel just by the frequencies of:

Back 458

F1 and F2.

Front 459

The absolute values of vowel ______________ can be influenced by the person’s dialect and gender (men’s vocal tracts are larger than women’s and children’s).

Back 459

frequencies

Front 460

Why do children have higher formant frequencies than men or women?

Back 460

Because they have smaller vocal tract structures, including smaller resonating cavities.

Front 461

Men, women and children have a similar _____________ _____________ shape.

Back 461

vowel quadrilateral

Front 462

A larger vocal tract yields ___________ formant frequencies.

Back 462

lower

Front 463

Children have higher_______________ ________________________ than men or women, because they have smaller vocal tract structures, including smaller resonating cavities.

Back 463

formant frequencies

Front 464

We can plot the _______________ and ______________ formant frequencies to show VOWEL SPACE.

Back 464

first and second

Front 465

The vowel quadrilateral for children is the __________________ and it spreads the furthest up and to the right. This is because their ________________ ____________________ are higher.

Back 465

largest, formant frequencies

Front 466

The women’s quadrilateral is in the middle, and the men’s is the furthest down and to the left, because their formant frequencies are ________________. (The men have larger resonating cavities in their vocal tracts.)

Back 466

lower

Front 467

As you lower the jaw and tongue, you _______________ the frequency of the first formant.

Back 467

increase

Front 468

When you lower the tongue and jaw, you are ___________________________ and causing different cavities to resonate different frequencies.

Back 468

reshaping the vocal tract

Front 469

These interact in very complex ways – you can’t anatomically associate F1 with just one ____________ in the vocal tract. They do interact with one another in that the sounds bounce backwards and forwards and ________________ in different ways.

Back 469

structure, resonate

Front 470

LOWERING THE JAW AND TONGUE INCREASES THE FREQUENCY OF THE ___________________ ____________________.

Back 470

FIRST FORMANT.

Front 471

F2 is influenced by the _____________________________ position of the mouth.

Back 471

forward or backward

Front 472

If the tongue is further back in the mouth, the second formant has a relatively _______________ frequency.

Back 472

lower

Front 473

AS YOU MOVE THE TONGUE FORWARD, THE SECOND FORMANT’S FREQUENCY ________________.

Back 473

INCREASES.

Front 474

Higher vowels =

Back 474

lower F1

Front 475

Lower vowels =

Back 475

higher F1

Front 476

Front vowels =

Back 476

higher F2

Front 477

Back vowels =

Back 477

lower F2

Front 478

LIP ROUNDING ______________ ALL FORMANTS, REGARDLESS OF VOWEL TYPE.

Back 478

LOWERS

Front 479

The reason lip rounding lowers the formants is because as you round your lips, you are actually ___________________ the vocal tract. The tube that you are resonating, from the glottis to the outside world, is actually becoming ________________.

Back 479

lengthening, longer

Front 480

You can lower the larynx to _______________ the tube length, and just like the longer organ pipe, it would resonate lower frequencies. All of your formants would decrease in _________________.

Back 480

increase, frequency

Front 481

It is difficult to anatomically pinpoint where a given formant is resonated – there are ________________ _____________ between these chambers or cavities.

Back 481

complex interactions

Front 482

The sounds bounce back and forth between the resonating cavities, and influence each other by what 2 ways?

Back 482

constructive interference and destructive interference

Front 483

When the waves in the resonating cavities add up to gain more strength, it's called _______________ interference.

Back 483

constructive

Front 484

When the waves in the resonating cavities cancel each other out, it's called _______________ interference.

Back 484

destructive

Front 485

You can see the vowel /i/ has a high second formant and a lower first formant. So what type of vowel is this?

Back 485

high front vowel

Front 486

You can see that /u/, which is a high back vowel, will have what type of formats?

Back 486

low f1, low f2

Front 487

The different formants are caused by the associations between the tongue height and its _____________ position in the mouth.

Back 487

front/back

Front 488

The absolute formant frequencies of F1 and F2 differ substantially between :

Back 488

children, women and men.

Front 489

When we speak and produce these vowels in the context of consonants in the words that we utter, what happens?

Back 489

we may not produce them in exactly the same ways.

Front 490

What is one of the main challenges of studying formants?

Back 490

vocal tract size affects the formants, and so our formants are not uniform.

Front 491

What are some reasons why our formants can vary for the same vowel?

Back 491

gender, age, vocal tract size, individual anatomical differences

Front 492

How do we learn to recognize speech in spite of the variations in formants for the same vowel?

Back 492

listeners may apply ‘templates’ and timbre and pitch may serve as cues

Front 493

The differences in formant frequencies are related to the different:

Back 493

sizes in vocal tracts.

Front 494

Individuals will differ in their vocal tract anatomy so that their vocal tracts will resonate different _______________.

Back 494

frequencies.

Front 495

So formants are going to ________________ from speaker to speaker.

Back 495

vary widely

Front 496

The absolute value in ________ of the 1st and 2nd formants for the different vowels that a person produces will be different for each person.

Back 496

Hz

Front 497

When we hear speech, we are perceiving completely different sets of _____________________ from each person.

Back 497

frequencies

Front 498

It’s possible that listeners use _______________ in their auditory perceptual system.

Back 498

‘templates’

Front 499

We try to match features of vowel ________________ to other features of the sound that the person is making.

Back 499

articulation

Front 500

The _______________ and ____________ of the voice may be valuable cues that the brain uses to decode vowel signals.

Back 500

timbre and pitch

Front 501

If you hear a higher pitch, you would usually associate that with a person who has a _________________ larynx & vocal tract, and therefore you would expect ____________- formant frequencies.

Back 501

smaller, higher

Front 502

This variability in _______________________________________ also has a huge impact for people who are working on computer recognition of speech – it’s very difficult for software to recognize what you are saying.

Back 502

absolute formant values

Front 503

Speech recognition software gets used to the way you produce your “a” or “i” or “u”, by tuning into your specific :

Back 503

frequencies

Front 504

Automatic speech recognition systems, where you are asked to say a word rather than pressing a number, invariably tend to :

Back 504

make mistakes.

Front 505

When human listeners encounter new people, they adapt to their speech ___________.

Back 505

very quickly.

Front 506

Our brains might also look at the __________ between these frequencies.

Back 506

ratios

Front 507

Even if a new person’s absolute values in Hz differ from another person’s we’ve heard, the ratio of the ____________ may be broadly similar.

Back 507

peaks

Front 508

There may be a large gap between the first 2 formants for one sound, or they may be close together for another, so the __________ of the peaks is similar, regardless of frequency.

Back 508

ratio

Front 509

The _______________ is very good at processing speech sounds.

Back 509

brain

Front 510

A ____________ is a sound you can prolong as long as you have breath and hold the vocal tract steady.

Back 510

vowel

Front 511

In real speech, vowels are seldom produced in ________________.

Back 511

isolation

Front 512

Usually there are _______________ on either side of a vowel.

Back 512

consonants

Front 513

The production of the vowel is influenced by the sounds that are:

Back 513

adjacent to it.

Front 514

What is coarticulation?

Back 514

When the produciton of a sound is influenced by the sounds adjacent to it.

Front 515

It’s quite common for the articulation of one of the corner vowels - /a/ , /i/, /u/, /ae/ to be ________________________________, when the person is producing normal speech.

Back 515

undershot, or not quite achieved

Front 516

What are the corner vowels?

Back 516

/a/ , /i/, /u/, /ae/

Front 517

When the vowel is undershot, or not quite achieved, it is called:

Back 517

VOWEL NEUTRALIZATION

Front 518

During vowel neurtralization, the position of the tongue is a little closer to the neutral vowel /ə/ (schwa) in the ___________ of the vocal tract.

Back 518

middle

Front 519

What is the "neutral" vowel?

Back 519

/ə/ (schwa)

Front 520

In ________________ , where you have motor speech disorder, the vowels will be under-articulated too much, and the speech is ___________________.

Back 520

dysarthria, distorted.

Front 521

The _______________ has to make a judgment on the distinction between a normal and a disordered case of underarticulation.

Back 521

The clinician

Front 522

In clinical research, we sometimes use a ___________________ ______________ to quantify how well a person is articulating.

Back 522

VOWEL QUADRILATERAL

Front 523

The area within the vowel quadrilateral is called the:

Back 523

VOWEL SPACE AREA

Front 524

The vowel space area within the quadrilateral can be reflective of a person’s:

Back 524

overall intelligibility.

Front 525

if you were going to treat a person with dysarthria, you could measure the person’s vowel quadrilateral area before it started, and again after, and you could document :

Back 525

changes/ improvements to the vowel space

Front 526

Increases in the overall space of the vowel quadrilateral are reflective of larger:

Back 526

articulator movements

Front 527

Larger articulator movements are typically associated with improved :

Back 527

speech intelligibility.

Front 528

What do vowel ellipses show?

Back 528

the differences in the way individuals produce vowels

Front 529

You may produce a vowel rather differently depending on the vowel’s _____________-- which consonants surround it.

Back 529

context

Front 530

The _______________ ____________ is a reflection of how much variability there can be in the first and second formants, as you produce that vowel in different contexts.

Back 530

vowel ellipse

Front 531

Vowel ellipses show that the frequencies can vary around the ________________________, but it’s still an acceptable version of that vowel.

Back 531

central or ideal target

Front 532

What are the most common vowels across all languages?

Back 532

/i/, /u/ and /a/

Front 533

Generally speaking, languages tend to have between _____ and ________ vowels.

Back 533

3 and 9

Front 534

The acoustic spacing of these vowels tends to put them _____________________ of the vowel quadrilateral.

Back 534

at the edge

Front 535

The fact that vowels tend to be around the edges of the vowel quadrilateral means that they are more :

Back 535

distinctive from one another.

Front 536

If vowels were all clustered in the middle of the quadrilateral, close to the neutral vowel, it would be difficult to make them:

Back 536

distinct from one another.

Front 537

If vowels are ___________________ in the acoustic space, it gives the brain a better chance to separate one vowel from another.

Back 537

spread out more

Front 538

When learning a foreign language, one problem is encountering vowels that :

Back 538

you’ve never spoken before.

Front 539

It can be very hard as a new speaker of a language to make:

Back 539

those subtle differences between the vowels that are very meaningful to the native.

Front 540

We are used to hearing certain proportions of formants, but we’re not used to _____________________ of formants.

Back 540

new combinations

Front 541

When learning a new language, it can require a great deal of mental effort to get your ears and brain around these new combinations of __________ that you have not been exposed to before.

Back 541

formants

Front 542

When you produce a vowel for a few seconds, its first and second formants :

Back 542

won’t change.

Front 543

As you go from a consonant to a vowel, or vice versa, we have things called ______________ _____________, where F1 and F2 will change.

Back 543

FORMANT TRANSITIONS

Front 544

You can trace the history or evolution of F1 and F2 as they change over time, going in and out of :

Back 544

consonants and vowels.

Front 545

Formants are not always the ______________ ______________ that must be produced as they are in the isolated state.

Back 545

steady states

Front 546

The _______________ of a talking person really don’t stay put for very long.

Back 546

the articulators

Front 547

The tongue, lips and jaw are in almost constant _____________.

Back 547

motion.

Front 548

We don't really produce these successive phonemes in isolation, one at a time, but instead we:

Back 548

blend them into each other.

Front 549

Each sound influences, and is influenced by, what?

Back 549

all of its neighbors

Front 550

The __________________________________ that we can measure in a vowel really don’t last very long.

Back 550

F1 and F2 frequencies

Front 551

The constant movement of the articulators means that the ______________ _____________ are changing shape and size, and thus the ___________ _________________are shifting all over the place very rapidly.

Back 551

resonating cavities, formant frequencies

Front 552

An ordinary vowel is called a ____________________ – it has a relatively clear steady state that is maintained for a period of time.

Back 552

MONOPHTHONG

Front 553

A DIPHTHONG is defined by its ______________. The formant frequencies will _____________ during its production.

Back 553

change, change

Front 554

In a diphthong, the _______________ is the starting frequency, before the movement begins.

Back 554

ONGLIDE

Front 555

The ____________ is the ending frequency after you’ve finished making the diphthong.

Back 555

OFFGLIDE

Front 556

In between the onglide and the offglide is the ______________, when the formants are changing.

Back 556

TRANSITION

Front 557

The ______________ phase is what we perceive as the dipthong.

Back 557

transition

Front 558

/oi/ or /au/ or /ai/ are examples of:

Back 558

dipthongs

Front 559

It is the movement of the ____________ that really defines the diphthong that we perceive.

Back 559

formants

Front 560

What 3 things do all vowels have in common?

Back 560

They are all voiced, the vocal tract is relatively open, and they can be identified by their formant patterns.

Front 561

If you have plotted ____________ and _____________, you can identify the vowel.

Back 561

F1 and F2

Front 562

What are 4 ways that consonants differ from each other?

Back 562

1. degree of vocal tract constriction 2. degree of noise 3. degree of nasality 4.articulation features

Front 563

What makes an important distinction between oral consonants and nasal consonants?

Back 563

Whether or not the velopharyngeal port is open

Front 564

The only nasal consonants in English are:

Back 564

/m/, /n/, and /ng/.

Front 565

We produce the nasals by lowering the ________________, allowing air and sound to pass through the _______________________ and resonate in the nasal cavity.

Back 565

velum, velopharyngeal port

Front 566

While producing nasals, there’s a blockage of the __________ _____________.

Back 566

oral cavity

Front 567

Where is the oral cavity blockage for /m/ ?

Back 567

at the lips for /m/

Front 568

Where is the oral cavity blockage for /n/ ?

Back 568

at the alveolar ridge for /n/

Front 569

Where is the oral cavity blockage for /ng/ ?

Back 569

at the posterior part of the palate for /ng/.

Front 570

Compared to vowels, there is far more potential for ________________________ with consonants.

Back 570

things to go wrong

Front 571

How do consonants compare to vowels in terms of speech motor control?

Back 571

There is greater complexity and precision involved in the timing and in the physical articulation of consonants. Vowels, by comparison, are relatively simple to articulate.

Front 572

SLPs will spend more of their time treating errors in ________________ production.

Back 572

consonant

Front 573

What are the two main categories of consonants?

Back 573

obstruents vs. non-obstruents

Front 574

The obstruents category of consonants includes what 3 sub-categories?

Back 574

stops/ stop-plosives, fricatives, and affricates

Front 575

With _______________ – you get a complete closure of the vocal tract, just momentarily.

Back 575

STOPS

Front 576

With _______________ there is a narrowing of the vocal tract, and this forms a partial obstruction.

Back 576

FRICATIVES

Front 577

_____________________ are combined stops and fricatives .

Back 577

AFFRICATES

Front 578

An affricate has a fairly brief _____________ and a fairly brief _____________ interval.

Back 578

stop, frication

Front 579

An ______________ consonant is sort of a combination sound.

Back 579

affricate

Front 580

What are the 3 sub-categories of Non-obstruents?

Back 580

nasals, glides/semi-vowels/approximants and liquids

Front 581

The ______________ are sounds that do not completely block off the vocal tract, but have some form of constriction.

Back 581

non-obstruents

Front 582

Often a non-obstruent sound is produced with a change in the _________________________________________ throughout the production of that phoneme.

Back 582

pattern of constriction

Front 583

Just as there is articulatory movement during the production of a diphthong like “oi”, there’s also movement of the articulators during the production of:

Back 583

glides and semivowels.

Front 584

When you pronounce the phonemes, __________, __________, and __________, you have articulators moving during their production -- these are not static sounds.

Back 584

/w/, /l/, and /j/

Front 585

For English Stops, what are the 3 places of production?

Back 585

bilabial, alveolar, and velar

Front 586

What is the Manner for Stops?

Back 586

a brief closure of the vocal tract

Front 587

Stops can be either voiced or _______________.

Back 587

voiceless

Front 588

STOPS are consonants that involve the stoppage of air through the vocal tract, or complete closure of the vocal tract by :

Back 588

an articulatory constriction.

Front 589

In English, the bilabial stops are:

Back 589

/p/’s and /b/’s

Front 590

In English, the alveolar stops are:

Back 590

/t/’s and /d/’s

Front 591

In English, the velar stops are:

Back 591

/k/ and /g/

Front 592

The bilabial stops have a constriction formed by:

Back 592

putting both lips together

Front 593

The alveolar stops have a constriction formed by:

Back 593

raising the tongue against the alveolar ridge.

Front 594

The velar stops have a constriction formed when:

Back 594

the back of the tongue reaches up to touch the velum.

Front 595

If a stop is accurately articulated, there will be a brief instance during which there will be :

Back 595

no sound in the vocal tract.

Front 596

Part of a ________________ is reflected in the microphone signal as a brief silent event.

Back 596

stop

Front 597

Sometimes a tiny bit of ________________ may sneak through for voiced stops.

Back 597

energy

Front 598

During the closure, air pressure builds up behind the __________________________________, and then as the closure is released, this air bursts out.

Back 598

point of constriction

Front 599

The __________________________ creates the characteristic sound of a stop being released in the vocal tract.

Back 599

frication energy

Front 600

There is also a period of transition when the articulators move from having formed the stop to the upcoming ____________.

Back 600

vowel.

Front 601

The stop closure is also sometimes called the _______ _______.

Back 601

STOP GAP.

Front 602

A stop gap is characterized by a________________________ during the time that the articulatory constriction is being formed.

Back 602

lack of energy

Front 603

A stop gap is most easily seen if the stop occurs ____________ ____________.

Back 603

between vowels.

Front 604

If the stop is produced at the beginning of a word: “ta” or “ka”, then it would very difficult in many cases to see the stop closure duration, because of the :

Back 604

lack of energy prior to the formation of that stop.

Front 605

The duration of the closure is usually from ______________ milliseconds.

Back 605

50 -150

Front 606

In a voiced stop you may have _________________________ that continues throughout the closure of the stop.

Back 606

vocal fold oscillation

Front 607

During a stop gap, there is an absence of energy just a brief period of time -- it may last about :

Back 607

100 milliseconds or so – about 1/10 of a second.

Front 608

In the stop gap of a voiced stop, there is still some _____________________.

Back 608

acoustic energy

Front 609

There is some grey trace in the stop gap of a voiced stop spectrogram that indicates a very low frequency. It is called a:

Back 609

VOICING BAR

Front 610

The Voicing Bar corresponds to the oscillation of the ____________ ___________, which is continuing, even after the stop has been formed.

Back 610

vocal folds

Front 611

The trace in the voicing bar gradually ____________ during the stop gap.

Back 611

decreases

Front 612

The VOICELESS STOPS have a _____________ closure duration.

Back 612

LONGER

Front 613

The VOICED STOPS have a _____________ closure duration.

Back 613

shorter

Front 614

Voiced Stops have a shorter closure duration no matter what the place of ____________ is.

Back 614

articulation

Front 615

For stops in the initial position, It’s very difficult to tell how long the stop closure was because:

Back 615

there’s no vowel energy prior to the production of the stop.

Front 616

For stops in the initial position, it's impossible to measure a meaningful stop closure duration because:

Back 616

you could be holding your articulators in place for a long time before you actually utter one of these syllables

Front 617

When we want to measure stop closure duration, we have to look at contexts where there is some:

Back 617

some vowel energy happening before the stop.

Front 618

If you were to look at stop closure durations in certain speech disorders, you might find that they are increased or decreased, depending on:

Back 618

what the disorder is

Front 619

If a person was severely dysfluent and had stuttering blocks, you might find that the stop closure duration is drastically__________ as the person blocks on that sound and is unable to get the mechanism moving ahead into the next vowel.

Back 619

increased

Front 620

In some ______________, where you have neuromuscular speech deficits, the speaker may not be able to make a very good stop closure.

Back 620

dysarthrias

Front 621

With dysarthria, the tongue or the lips may not approximate their targets, and so they don’t make a particularly long ____________ and it isn’t a very effective one, and that’s why the speech may sound ____________________.

Back 621

closure, slurred and imprecise.

Front 622

We can document changes in things like stop closure duration as an index of _______________ adequacy.

Back 622

articulatory

Front 623

During the time that the constriction is formed for a stop,_________________ builds up behind the constriction.

Back 623

air pressure

Front 624

Once the ______________ of a stop is released, the pressure that has built up behind it forces air out through the space that is now gradually opening.

Back 624

constriction

Front 625

When the stop is released, first we get a small _____________, which is a rather sharp burst of air.

Back 625

TRANSIENT

Front 626

In acoustics we use the term transients to refer to a ________ ___________ acoustic event .

Back 626

very brief

Front 627

Once this burst of a stop has taken place, the noise continues, but in a slightly different form – it’s of __________ amplitude, but of much ____________ duration.

Back 627

lower, longer

Front 628

A stop burst is a very__________ event.

Back 628

brief

Front 629

After a stop burst, the ___________ continues while the opening is becoming wider and wider – the air is still rushing through it.

Back 629

frication

Front 630

After the stop burst, the air coming through is forming turbulence because the airflow is still ____________________ – the pressure has not yet decreased to match that of the ___________ around the speaker.

Back 630

relatively high, atmosphere

Front 631

It can be difficult to distinguish between the transient and the ______________ _____________ on a spectrogram.

Back 631

frication interval

Front 632

Regardless of the place of articulation, there will be some _____________________ produced when a stop constriction is released.

Back 632

frication noise

Front 633

The ______________________ of the stop's frication noise, however, are not constant across all places of articulation.

Back 633

characteristics

Front 634

What things will be different if you articulate a bilabial stop versus an alveolar stop?

Back 634

the spectrum varies; the frequency components are not going to be identical

Front 635

The spectra for _______________ noise looks very steady and level all the way across. All frequencies are present and are equal in amplitude. Sometimes the envelopes that enclose the spectrum can be more variable.

Back 635

white

Front 636

The spectra for _______________ and ______________ noise do not include all of the frequencies from the lowest to the highest. As you get into the higher frequencies, the noise has been shaped to taper off as you get to the upper end of the spectrum, so there is less high frequency energy.

Back 636

pink and brown

Front 637

Noise characteristics vary, depending on the :

Back 637

place of constriction

Front 638

Why does the place of constriction make the noise characteristics vary?

Back 638

This is because there are different resonating cavities on either side of the stop closure which will influence the sounds that are being resonated or attenuated.

Front 639

Different resonating cavities on either side of the ______________________ will influence the sounds that are being resonated or attenuated.

Back 639

stop closure

Front 640

This place of constriction has a lower frequency:

Back 640

bilabial

Front 641

This place of constriction has a higher frequency:

Back 641

alveolar

Front 642

This place of constriction has a mid-range frequency:

Back 642

velar

Front 643

With vowel formants, F1 and F2 are created by :

Back 643

resonating cavities

Front 644

As the sizes and shapes of the resonating cavities are adjusted by articulating, the _______________________ change correspondingly.

Back 644

formant frequencies

Front 645

Large organ pipe = _____________ frequency

Back 645

low

Front 646

Small organ pipe = _____________ frequency.

Back 646

high

Front 647

When you have a ______________ STOP, there is no narrow passageway in front of it, instead there is a wide open space in front of the speaker’s face. This large resonating space results in a ___________ frequency.

Back 647

BILABIAL, low

Front 648

Directly in front of an ______________ STOP is a small space between the lips where the fricative is formed. Since the space is smaller, the frequency is ______________.

Back 648

ALVEOLAR, higher

Front 649

There is some space in front of the velum with _____________ STOPS, but it is inside the oral cavity. This space, because of its size and shape, resonates _____________ frequencies.

Back 649

VELAR, mid-range

Front 650

The noise characteristic of each of the places of articulation can help the listener identify what?

Back 650

where the stop was formed.

Front 651

Frication is common among all of these places of articulation but the sound is going to be shaped by the ____________________________ associated with that place of articulation.

Back 651

resonating cavities

Front 652

Even though stops can be produced in the same place of articulation, there can be differences, depending on the _______________________ in which they are produced.

Back 652

phonetic context

Front 653

When the stop occurs in the _______________________ POSITION, or at the end of a word, the listener will hear the frication as the stop is released.

Back 653

WORD-FINAL

Front 654

(Ex: pad, pat) When you clearly release the stop closure in a word-final stop, it will definitely help with :

Back 654

intelligibility and speech clarity.

Front 655

With more casual speech, it is harder to tell where the closure ends because the stop is not released as clearly, thus preventing the :

Back 655

production of a burst of noise.

Front 656

In casual speech, the place of articulation, since it is associated with certain shaping of the noise (or adjustment of the noise spectrum), can’t be identified because:

Back 656

the information is missing that indicates this to the listener.

Front 657

If you are learning a foreign language and listening to a native speaker of that language, you will be better able to identify________________________ if they clearly release their stops.

Back 657

places of articulation

Front 658

If a person ____________________________________ , it will give you more cues as to the place of articulation and the particular phoneme they are producing.

Back 658

clearly releases their stops

Front 659

A native listener might understand even if the stops are not released, because they would be able to tell from the ________________________________ what that sound ought to be.

Back 659

context and their familiarity with the language in general

Front 660

For unfamiliar listeners of a language, it’s helpful to have the extra information of having the stop released, and to hear the _________________________ that is included in that signal.

Back 660

fricative energy

Front 661

The darkness of the trace in a spectrogram indicates the _____________________ of the signal.

Back 661

amplitude / strength

Front 662

The frication is typically weaker in a _______________ stop.

Back 662

voiced

Front 663

The phenomenon of ____________________ is only seen in a voiceless stop context , and only when the stop is followed by a vowel (CV context).

Back 663

ASPIRATION

Front 664

ASPIRATION is only seen in a ______________________ context , and only when the stop is followed by a ___________.

Back 664

voiceless stop, vowel

Front 665

During aspiration, the vocal folds are beginning to _____________ for the vowel that is about to begin.

Back 665

adduct

Front 666

As the vocal folds come closer together, the air that’s moving between them creates turbulence at the ___________.

Back 666

glottis.

Front 667

When a person has just formed a voiceless stop, the vocal folds have been pulled apart from one another by activating the ______________________ muscles.

Back 667

posterior cricoarytenoid

Front 668

There is a complete separation of the vocal folds during the time that the voiceless stop has been formed. This is called a:

Back 668

laryngeal devoicing gesture.

Front 669

Once the stop is released, the air starts to flow, giving us the ________________________ interval.

Back 669

transient and frication

Front 670

Before the vowel actually starts, the vocal folds have to ________________________ for phonation to occur.

Back 670

come into position

Front 671

As the vocal folds are gradually drawing together, ______________________ is generated.

Back 671

aspiration noise

Front 672

During aspiration, air is moving through the glottis -- the vocal folds are not close enough together to produce ______________, but they are close enough to produce some _____________________ because the air is rushing between them in a narrow space.

Back 672

phonation, turbulent noise

Front 673

Aspiration noise is visible on a ___________________.

Back 673

spectrogram.

Front 674

On a spectrogram, the aspiration shows a weaker frication energy than the :

Back 674

post-stop burst

Front 675

The aspiration is coming from the _______________, not the point of constriction.

Back 675

glottis, from the vocal folds themselves

Front 676

The frication noise occurs at :

Back 676

the place of constriction

Front 677

________________ is a relatively soft acoustic event, rather weak in its energy.

Back 677

Aspiration

Front 678

_____________________ is a weaker noise to begin with, and it also has a further distance to travel before it reaches the person’s mouth.

Back 678

Aspiration

Front 679

Aspiration is only seen in the context of a _______________________.

Back 679

voiceless stop.

Front 680

In a ___________________, there is vocal fold oscillation very shortly after the burst release has occurred.

Back 680

voiced stop

Front 681

In a voiced stop, the vocal folds are ____________________ so there is no opportunity for the creation of aspiration.

Back 681

already together

Front 682

Stops can be categorized into voiced and voiceless, but this does not mean that there is a _________________ of voicing on either side of a voiceless stop, and it doesn’t necessarily mean that there is voicing ______________ a voiced stop.

Back 682

total absence, all the way through

Front 683

The difference between ‘p’ and ‘b’ or between ‘t’ and ‘d’ depends on :

Back 683

VOICE ONSET TIME

Front 684

The time between the release of the stop closure and the onset of vocal fold vibration is called:

Back 684

Voice onset time (VOT)

Front 685

A voiced stop occurs when the voice onset time is :

Back 685

close to zero

Front 686

Sometimes there are even negative values in voice onset time. This is called:

Back 686

PREVOICING or VOICING LEAD.

Front 687

Voiced stops typically have ____________ VOT values .

Back 687

low

Front 688

VOT's can range between ________________ for b, d, & g.

Back 688

-20 to +20 milliseconds

Front 689

Voice onset time is the time between:

Back 689

the release of the closure and the start of vocal fold oscillation.

Front 690

The notion of voice onset time refers to coordination between the activity of the ___________ and the ____________ as it forms constrictions.

Back 690

vocal folds, vocal tract

Front 691

The timing between releasing a stop and ________________________________ makes all the difference between voiced and voiceless stops.

Back 691

initiating vocal fold vibration

Front 692

When you say ‘pa’ with aspiration, _____________ does not immediately begin when the lips open.

Back 692

voicing

Front 693

When you say ‘ba’, there is _________________. There is vocal fold oscillation during the closure and it continues once the __________ have opened.

Back 693

prevoicing, lips

Front 694

When we look at a waveform with a spectrogram, how do we make the decision that voicing has actually begun? We rely on these two things:

Back 694

(1) The microphone signal at the top shows regular up and down oscillations where the second line is. (2) The time aligned spectrogram below shows that the vertical striations (which represent individual glottal pulses) also begin at that second line.

Front 695

In a Voiced Stop, the VOT includes:

Back 695

the duration of the frication interval (from the opening of the stop to the onset of vocal fold vibration)

Front 696

In an Aspirated Voiceless Stop, the VOT includes:

Back 696

the duration of the frication interval PLUS the aspiration

Front 697

Voice onset times for voiceless stops tends to be above ____________________, and can in some cases can be as long as ____________.

Back 697

25 milliseconds, 100 ms.

Front 698

After the stop constriction has been released and the burst occurs, it can take up to about _____________________ before vocal fold oscillation commences for the following vowel.

Back 698

a tenth of a second

Front 699

Name 3 factors that influence how long voice onset time is in a given context:

Back 699

Age, Rate of Speech, and Phonetic Context

Front 700

If we rush through our sound productions, then VOTs will be somewhat :

Back 700

shortened.

Front 701

If we rush through our speech, we would still make the same voiced and voiceless distinctions, but all of the values would be somewhat ____________________-- because the overall production was sped up.

Back 701

abbreviated

Front 702

When we speak, we experience the phenomenon of ________________, in that sounds influence one another.

Back 702

coarticulation

Front 703

The VOT for ‘ata’ is ______________ since it is a VOICELESS STOP.

Back 703

longer

Front 704

‘Ada’ will have a much _________________ VOT than 'ata'.

Back 704

shorter

Front 705

Since ‘ata’ is a voiceless stop occurring before a vowel you’ll see what 2 things happening on the spectrogram in the VOT space?

Back 705

1. There is a darker portion at the beginning of the VOT area that is the burst release and frication. 2. After that there is a lighter portion of noise energy, which is the aspiration created as the vocal folds are coming together. You have turbulence from the glottis there.

Front 706

The total VOT for a voiceless stop is the duration of the _______________ plus the duration of the ____________.

Back 706

burst and frication, aspiration.

Front 707

VOT's can be separated into what two groups?

Back 707

Voiced and voiceless

Front 708

In English, is there overlap between the voiced VOT group and the voiceless VOT group?

Back 708

No, unless there is a speech disorder that is causing voicing errors.

Front 709

When the voicing has commenced prior to the release of the stop closure, it is called:

Back 709

voicing lead

Front 710

VOT's from ____________ up to about __________ milliseconds have a short lag, which we associate with voiced stops.

Back 710

0-20

Front 711

Voiceless stops have VOT's with a ______________ lag because the time between the release of the constriction and the onset of vocal fold vibration is much ________________.

Back 711

long, longer

Front 712

Many of the world’s languages (including English & Spanish) have just __________ VOT categories.

Back 712

two

Front 713

The _____________ for English and Spanish, however, are not identical.

Back 713

VOTs

Front 714

If you were to compare ‘pa’, and ‘ba’ in both English and Spanish you would find that for English the VOT values are somewhat _______________. They would be shifted more to the _____________ on a distribution diagram.

Back 714

higher, right

Front 715

VOTs for Spanish are shorter, there is often a ________________________ for the voiced stops. The distribution would be pushed somewhat to the __________ on a diagram.

Back 715

voicing lead/ prevoicing, left

Front 716

The absolute number of _______________________ for the boundary between a voiced and a voiceless stop is not going to be the same for English and for Spanish.

Back 716

milliseconds

Front 717

English and Spanish each have _____________________ distributions so voiced/voiceless distinctions can be clearly made.

Back 717

non-overlapping

Front 718

Some other languages (such as Thai) have 3 _____________ categories.

Back 718

VOT

Front 719

It can be challenging for a native speaker of English to learn Thai because you have to distinguish among 3 different categories of voicing rather than the __________ that we are used to.

Back 719

two

Front 720

We don’t generally do voicing lead, or _____________, for 'ba' in English , but would still recognize it as ‘ba’.

Back 720

prevoicing

Front 721

The English 'pa' would have a _________ VOT.

Back 721

long

Front 722

In Thai, there is a sound that has the features of a voiceless bilabial in terms of the force of producing this plosive, but its VOT is closer to where we would expect it to be for a voiced plosive, /b/. To our ears, it seems to have elements of ________________.

Back 722

both/p/ and /b/.

Front 723

The human _________________________ is very keen on assigning sounds to categories.

Back 723

auditory perceptual system

Front 724

So it is rather confusing to a native English listener to be confronted with 3 categories when we are only used to _____.

Back 724

2

Front 725

When we hear an unfamiliar voicing sound, we try try to :

Back 725

make it fit into a category with which we are already familiar.

Front 726

A -62 VOT is an example of _________________, which we typically don’t do in English.

Back 726

prevoicing

Front 727

A VOT of 10 ms is ________________ in English.

Back 727

uncommon

Front 728

Place of articulation has a __________ impact on VOT .

Back 728

slight

Front 729

For VOT's, there is a progression from the _____________ of the mouth to the ____________ of the mouth.

Back 729

front, back

Front 730

BILABIAL VOTs are generally ______________. (p’s and b’s)

Back 730

shortest.

Front 731

ALVEOLAR VOTs are _______________________ (t’s & d’s)

Back 731

in an intermediate range

Front 732

VELAR VOTs are _______________ (k’s and g’s)

Back 732

longest

Front 733

For each place of articulation, we still have non-overlapping ____________________ categories. T’s and d’s don’t overlap with each other, neither do p’s and b’s or k’s and g’s.

Back 733

voiced/voiceless

Front 734

There’s a general rule that the place of _________________ does influence the overall VOT values.

Back 734

articulation

Front 735

If you looked at all of the VOICELESS VOTs you would find the shortest ones for the ______, the intermediate ones for the ______ , and the longest ones for the________.

Back 735

p,t,k

Front 736

If you looked at the VOICED ONES, the VOTs would be shortest for the ___________, intermediate for the ________, and longest for the ________.

Back 736

b,d,g

Front 737

Sometimes there won’t even be a VOT. This will occur if the stop is ______________________.

Back 737

at the end of a word

Front 738

If a stop is at the end of a word, there will be no vowel following it with which to:

Back 738

measure starting phonation after the release of a stop.

Front 739

Even when there's no VOT, our perceptual system has to decide whether a stop is :

Back 739

voiced or voiceless

Front 740

What are 2 cues to help us decide if the stop is voiceless?

Back 740

a longer stop gap and a stronger release burst

Front 741

What are 2 cues to help us decide if the stop is voiced?

Back 741

a voicing bar is visible on the spectrogram and There is a longer vowel before a voiced stop

Front 742

A voicing bar is visible on a ____________, as well as audible to our ears.

Back 742

spectrogram

Front 743

During the stop closure, there is some __________________________ available to the auditory system which we use in our overall processing of the sound and determine that it was likely voiced. We don’t process this at a ___________ level.

Back 743

low frequency energy, conscious

Front 744

There tends to be a LONGER ___________________ for the voiceless stops.

Back 744

STOP GAP

Front 745

Subconsciously, the brain processes the differences between _____________for stops that are voiced or voiceless.

Back 745

stop gap durations

Front 746

When VOICELESS STOPS are released, the burst is quite a bit stronger because:

Back 746

there is more oral pressure built up behind the constriction.

Front 747

VOICED STOPS have less pressure available because :

Back 747

the pressure coming from the lungs is being used to drive the voice to contribute to phonation.

Front 748

The ___________________ STOPS ARE MORE VIGOROUS in their production and the burst is much clearer.

Back 748

VOICELESS

Front 749

Voiced stops have ____________ pressure available to build up directly behind the constriction.

Back 749

less

Front 750

There are differences in the way we produce our _____________ prior to a voiced or voiceless stop, i.e. Had vs. Hat.

Back 750

vowels

Front 751

The VOWEL IS QUITE A BIT ____________BEFORE THE VOICED d, and______________ before the voiceless t. ( i.e. Had vs. Hat.)

Back 751

LONGER, shorter

Front 752

We can hear how long the vowel is that leads up to a final _____________. It helps us to identify ___________________.

Back 752

stop, the final consonant

Front 753

The redundancy between the stop cues helps the ________________ determine whether a stop was voiced or voiceless.

Back 753

auditory cortex

Front 754

The height of the jaw, or the size of the mouth opening will influence the _____________ formant.

Back 754

first

Front 755

As the _____________________ opens wider, the 1st formant increases in frequency.

Back 755

mouth

Front 756

If the mouth is closed for a stop production, F1 will be ____________, but it will ___________ in frequency as you move into the following vowel.

Back 756

low, increase

Front 757

F2 and F3 are influenced by the :

Back 757

place of constriction.

Front 758

Our ears and auditory cortices pick up these changes in formants, helping us identify where the place of ____________ was, while moving from consonant to vowel.

Back 758

articulation

Front 759

The burst release following a stop closure will help the listener identify the place of articulation because the spectral characteristics of the burst will differ depending on the:

Back 759

place of articulation.

Front 760

VOT also changes with place of_______________ , giving us a second cue to help us.

Back 760

articulation

Front 761

Combining the information we can get from the burst release and from VOT with the information we get from the ____________________ from consonants to vowels gives us even more information to help determine the place of articulation.

Back 761

formant transitions

Front 762

The stop burst __________________________ help to identify whether it was a bilabial, alveolar, or velar stop.

Back 762

spectral characteristics

Front 763

When we produce FRICATIVES, the sound is generated by:

Back 763

air turbulence

Front 764

For fricatives, turbulence arises because air is pressurized on one side of a constriction and it flows through a :

Back 764

very small opening

Front 765

For fricatives, when the moving air collides with the still air beyond the constriction it causes turbulence ; thus, _____________ is generated.

Back 765

noise

Front 766

Fricatives sound different from each other because they have different :

Back 766

places of articulation

Front 767

One reason different fricatives make different sounds is because the __________________________ on either side of the constriction will vary in shape and size.

Back 767

resonating cavities

Front 768

A larger cavity will naturally resonate ______________ frequencies.

Back 768

lower

Front 769

The __________________________ will determine the spectral characteristics of the fricative.

Back 769

place of articulation

Front 770

It doesn’t matter to the vocal tract whether the sound given to it is a _______________ source or a ____________ source --it will still shape, resonate, and adjust the sound that is given to it.

Back 770

noise, periodic

Front 771

The burst of a stop, when it is released, creates ___________________ that is shaped depending on the place of articulation.

Back 771

frication noise

Front 772

A _______________ is just like an extended version of one of those stop burst releases.

Back 772

fricative

Front 773

STOPS have a frication at the end of the __________________________.

Back 773

stop release.

Front 774

When we produce a FRICATIVE it may be a similar form of noise to a ____________but it lasts longer.

Back 774

stop

Front 775

When you produce a voiced fricative, you have what two sound sources?

Back 775

the vibration of the vocal folds and the turbulence that is created at the constriction.

Front 776

When you produce a voiceless fricative, you have what single sound source?

Back 776

the turbulence that is created at the constriction.

Front 777

When you produce a voiceless fricative, there is no sound being produced by the ______________.

Back 777

larynx.

Front 778

As listeners we don’t usually separate out /z/ and /s/ as having two sound sources; we just perceive them as being completely different sounds. In reality, they are almost identical. The only difference is that :

Back 778

one has voicing and the other doesn’t.

Front 779

When the larynx is not contributing to phonation (such as in a voiceless fricative like /s/), all of the air pressure from the lungs is directed to ________________. This produces quite a strong fricative, because all of the pressure is directed to that one sound source.

Back 779

that constriction.

Front 780

When you are producing /z/, the actual frication that takes place at the alveolar ridge is not quite as vigorous as it was for the /s/, because :

Back 780

the larynx has used up a certain amount of pressure that the lungs generate

Front 781

For a voiced fricative, some of the pressure was used to create___________________ before it even reached the oral cavity. This leaves less pressure available to create turbulence at the fricative constriction.

Back 781

vocal fold oscillation

Front 782

Since you have voicing going on WITH frication for /z/, those two sounds add together and you get a qualitatively different type of sound that contains both harmonic energy from the __________ and turbulent energy from the ___________________________.

Back 782

voice, fricative constriction

Front 783

In a spectrum, the ______________ is the more jagged fuzzy line, and the more solid line is the __________, which outlines the envelope of this spectrum more clearly.

Back 783

FFT, LPC

Front 784

The lips are _____________ somewhat if you produce an ‘s’ on its own. The lips are _____________ to produce ‘sh’, which creates a cavity anterior to (in front of) the constriction. These differences will cause the sound to _________________________.

Back 784

retracted, rounded , resonate differently

Front 785

‘f’ is a low___________________ sound.

Back 785

intensity

Front 786

'theta' means the _____________'th' sound.

Back 786

unvoiced

Front 787

In some types of ________________, the production of the two fricatives ‘s’ and ‘sh’ becomes rather similar . This makes it harder to _____________________________________ one from the other.

Back 787

dysarthria, perceptually distinguish

Front 788

In dysarthria, the 's' and 'sh' are both pronounced closer to the middle than they should be. The spectra for these two sounds then becomes __________________________, diminishing intelligibility.

Back 788

more similar to each other

Front 789

Why are nonstridents (f, v, theta & thorn) more difficult to distinguish from one another ?

Back 789

Their spectral shapes are broadly similar and they are acoustically weak

Front 790

The ____________________________ are so soft that we have a harder time telling them apart.

Back 790

non-stridents (f, v, theta & thorn)

Front 791

The phone acts like a _________________________________. It eliminates the highest and the lowest frequencies. In the case of these fricatives, the ___________________ can be very valuable in helping you tell the fricatives apart. The lower frequency frication energy you are left with on the phone is common to more than one fricative. Thus, they sound similar to one another over the phone.

Back 791

band pass filter, high frequencies

Front 792

An AFFRICATE is a combination of what two different phoneme types?

Back 792

a stop and a fricative

Front 793

In an Affricate, first there is a stop, with a more noisy release than a typical stop production because the frication lasts_____________________________ than a stop. This friction interval_____________________ as an isolated fricative.

Back 793

somewhat longer, is not as long

Front 794

An _________________ is sort of a compromised sound, somewhere between a stop and a fricative in its production.

Back 794

Affricate

Front 795

When we say the affricates ch(urch) and j(udge), we don’t think of them as having a separate stop and fricative component because:

Back 795

they are produced in such rapid succession we hear them as a single sound.

Front 796

NASALS are ________________ different from other consonants.

Back 796

qualitatively

Front 797

The English language has what three nasal consonants?

Back 797

/m/, /n/& /ng/.

Front 798

If you produce a vowel between two nasal consonants, the vowel will probably become nasalized because :

Back 798

the open velopharyngeal port contributes to damping of the energy that enters the nasal cavity.

Front 799

We produce NASAL CONSONANTS by opening the velopharyngeal port and :

Back 799

creating an obstruction in the oral cavity.

Front 800

All nasal sounds are ______________, so the larynx is contributing phonation to their production.

Back 800

voiced,

Front 801

The place in the oral cavity where the _________________________________ will determine the acoustic characteristics of the nasal consonant.

Back 801

obstruction is made

Front 802

If you make an 'm' (bilabial) you have a __________________________ resonating cavity in the mouth, and leading up into the nasal passageway.

Back 802

relatively large

Front 803

If you make an 'n' (alveolar constriction) you change the _________________________________________, which makes the sound different from an 'm'.

Back 803

shape and size of the resonating cavity

Front 804

If you make an 'ng', the constriction is ________________________ in the oral cavity, so it has its own acoustic characteristics which are determined by its place of articulation.

Back 804

most posterior

Front 805

Even though the listener can tell the difference between the nasals fairly well, they are not very distinctive _____________________. Looking at them on a ________________, it is not easy to tell one from another.

Back 805

acoustically, spectrogram

Front 806

Nasals are very LOW IN ___________________. Because the sound is being radiated through the nasal cavity, the soft tissues there _________________ the sound. Therefore, the ________________ of the sound that reaches the listener is rather low.

Back 806

INTENSITY, attenuate/dampen, intensity

Front 807

/w/ and /j/ are called GLIDES because:

Back 807

the tongue is moving (gliding) during their production.

Front 808

Glides can be compared to ___________________, in which you both phonate and move the tongue, creating a change in the formant frequencies from one part of the sound to the next.

Back 808

diphthongs

Front 809

______________________ are similar to diphthongs in that the tongue is gliding or moving from one articulatory configuration to another.

Back 809

Glides

Front 810

Glides are also called:

Back 810

approximants or semi-vowels

Front 811

Why are glides sometimes called approximants?

Back 811

because they approximate certain positions or constrictions

Front 812

Why are glides sometimes called semi-vowels?

Back 812

because they are half vowel like -- they have a relatively open vocal tract and there is phonation going on during their production

Front 813

Glides have a _________________________ vocal tract and there is _________________ going on during their production.

Back 813

relatively open, phonation

Front 814

Besides the glides, the term approximant is also used for:

Back 814

/r/ and /l/.

Front 815

/w/ involves lip rounding, and the elevation of the ______________________. This is similar to how we produce an /u/ vowel. To illustrate how similar they are, put a w between two /u/ vowels. The articulators don’t move much at all. They are fairly close in terms of their _____________.

Back 815

back of the tongue, configuration

Front 816

The rate of change during ________________________ can be a cue to the listener as to which of these sounds is being produced.

Back 816

formant transition

Front 817

With b, you have formed a plosive; so the plosive burst, along with _____________will cue the listener as to the manner of production. (plosive)

Back 817

VOT

Front 818

The two liquids in English are :

Back 818

/r/ and /l/.

Front 819

The LIQUIDS are voiced ________________________.

Back 819

all the way through.

Front 820

The F3 for /r/ is ______________; There is a characteristic ___________ in F3 on a spectrogram representation of an /r/.

Back 820

low, dip

Front 821

/r/ and /l/ are completely separate phonemes in English, but this is not the case in all languages. They are __________________________ in Korean.

Back 821

allophonic variants

Front 822

An ______________is a version of a phoneme that may be produced slightly differently under different conditions.

Back 822

ALLOPHONE

Front 823

An allophone is subject to the influence of ________________________. The allophone varies depending on the ______________________________.

Back 823

COARTICULATION, sounds that surround it.

Front 824

In English SLP, there is a lot of opportunity to help children articulate these ____________________ sounds.

Back 824

liquid (/r/ and /l/)

Front 825

Liquids (/r/ and /l/) are difficult to master because of the _________________ involved in their production.

Back 825

muscular patterns

Front 826

Either of the liquid sounds (____________________) can potentially be sustained, but this is not what we really do in speech. It is the movement of the ______________________ that is characteristic of the production of these sounds in normal speech production. There isn’t much of a ______________ state, or prolonged element in their production.

Back 826

(/r/ and /l/, formants, steady

Front 827

It is the __________________ that is particularly characteristic of /r/ as it is produced in running speech.

Back 827

F3 change