The Physics Behind The Source-Filter Theory Of Vocalization And Notes For Final

Front 1

The Waveform

Back 1

A plot of changes in amplitude over time for a particle object or system

The specific display is called a time- domain wave form

The waveform is actually a representation of a particle motion or system motion in time

Front 2

Features of Periodic waveforms:

Back 2

PERIOD- the time one cycle takes; duration of one cycle of vibration

period is the inverse of frequency

t = 1 / f

200Hz means compression and rarefaction is occurring 200 times per second

FREQUENCY = number of vibrations per second

f = 1 / time

Front 3

PERIOD

Back 3

- the time one cycle takes; duration of one cycle of vibration

- period is the inverse of frequency

- t = 1 / f

- 200Hz means compression and rarefaction is occurring 200 times per second

Front 4

FREQUENCY =

Back 4

number of vibrations per second

f = 1 / time

Front 5

Period is the inverse of...

Back 5

frequency

Front 6

Wavelength =

Back 6

- distance in space that one cycle occupies, from one peak to the next, measure in meters (m)

λ = c/ f

Front 7

C = ___________ in the case of c= fλ

You must know what to derive "c"

Back 7

c= fλ

speed of sound
(to know this you need to know the medium)

Front 8

SOUND =

Back 8

systematic changes in pressure generated by an energy source

- The object or source must be vibrating or oscillating

Front 9

Must have a source and a medium that transmits energy...

Back 9

generated by the source

- The object or source must be vibrating or oscillating

Front 10

What must be disturbed to produce a sound?

Back 10

- Atmospheric pressure (Patm)

Front 11

So as sound is put into vibration it will:

Back 11

- Cause air pressure changes around the vibrating source part

Front 12

Sound is conducted through a process of...

Back 12

compression (decrease in distance) and rarefaction (increase in distance) of the medium (air)

Front 13

Compression

Back 13

Decrease in distance

Front 14

Rarefaction definition

Back 14

Increase in distance

Front 15

How is a a “chain reaction” set up with with neighboring air molecules?

Back 15

Remember that air is springy. It has inherent elasticity and is very suitable for compression and expansion.

Like a pendulum swinging, once air molecules are displaced, they will oscillate due to their mass, elasticity and inertia.

With so many neighboring air molecules nearby…You set up a “chain reaction” with neighboring air molecules.

Front 16

Once air molecules are displaced, they will oscillate due to...

Back 16

... their mass, elasticity and inertia.

Front 17

What is passed along or exchanged with neighbors or other air molecules?

Back 17

Energy

Front 18

The Traveling Wave –

Back 18

Energy is transferred and propagated.

Front 19

Density of air molecules INCREASES with __________.

Back 19

COMPRESSION

Front 20

DENSITY-

Back 20

Mass of air molecules per unit volume of space

Front 21

Density of air DECREASES with ___________.

Back 21

RAREFACTION

Front 22

Alternating regions of __________________ move through medium

Back 22

Compression and rarefaction

- low pressure (rarefaction) to high pressure (compression) to low pressure (rarefaction)

Front 23

TIME- DOMAIN WAVEFORM

Back 23

A plot of changes in amplitude over time for a particle, object, or system
This specific display (below) is called the time-domain waveform
The waveform is actually a representation of particle motion or system motion in time
Amplitude of a sine wave represents air pressure over time

Front 24

Wave motions are disturbances moving through a medium, that...

Back 24

Transfer energy in a radiant manner from a source, with ….

The speed of wave propagation (travel) depending on the physical characteristics of the material through which the wave travels.

Front 25

Wave motions are...

Back 25

Disturbances moving through a medium that transfer energy in a radiant manner from a source

Front 26

Wave motions transfer energy in a radiant manner from a source, with ….

Back 26

The speed of wave propagation (travel) depending on the physical characteristics of the material through which the wave travels.

Front 27

3 types of waves are defined

Back 27

transverse

longitudinal

surface

Front 28

-# of vibrations per second =

Back 28

Frequency, measured in hertz (hz)

- frequency is the inverse of period

Front 29

Speed of sound in air:

Back 29

341 m/s at 32 degrees C (temperature of medium) or 343 m/s at 68 degrees F

Front 30

Speed of sound in water:

Back 30

1461 m/s

Front 31

Speed of sound in steel rod:

Back 31

5000 m/s

Front 32

Incident wave

Back 32

One that is projected, some portion of the wave will be bounced off surface, this is a reflected wave

Front 33

Damping:

Back 33

-decreases amplitude of incident wave

-soft, porous, rough surface material: very absorbent, (that’s why we scream into a pillow)

-reflection wave: some part of incident wave is reflected back towards source

-hard and smooth surface: reflect light waves more

Front 34

Boundary

Back 34

Sudden change in media density that will reflect a sound wave in a different direction.

Ex: something traveling through air and then suddenly going into water

Front 35

In the real world, what happens to sound waves after they are produced?

Back 35

In the real world, the sound waves hit boundaries after their production.


Waves of pressure bounce or “reflect” from off of boundary locations

Front 36

When sounds “reflect” off of surfaces, a complex situation arises. Describe it:

What two wave types are formed?

Back 36

A complex situation arises where one sound wave is now traveling in one direction, while its reflected wave is traveling back from where it came from and overlaps with the first wave.

- Reflected wave
- Incident wave

Front 37

Reflection is a type of...

Back 37

Boundary condition

Front 38

What is the difference between echo, reverberation, and resonance...

Back 38

It depends on DISTANCE between the sound source and the reflective surface.

Front 39

What exactly is a sound?

Back 39

You need a source and a medium that transmits the energy generated by the source.

Patm must be disturbed to produce a sound

Front 40

Sound=

Back 40

Systematic changes in pressure generated by an energy source

Front 41

The object or source generate the sound must be free to...

Back 41

vibrate or oscillate

Front 42

So as a sound source is put into vibration, it will...

Back 42

Cause air pressure changes around the vibrating source part

Front 43

Sound is a conducted through a process of...

Back 43

Compression and rarefaction of the medium (air)

Front 44

Remember that air is springy...this means is has ________ and is suitable for ___________?

Back 44

It has inherent elasticity and is very suitable for compression and expansion.

Front 45

Like a pendulum swinging, once air molecules are displaced, what happens?

Back 45

They will oscillate due to their mass, elasticity and inertia

Front 46

Air molecules, once displaced, will oscillate due to:

Back 46

Their mass, elasticity and inertia

Front 47

A "chain reaction” with neighboring air molecules means that...

Back 47

Energy is passed along or exchanged with neighbors.

The Traveling Wave – energy is transferred and propagated.

Front 48

Time Domain Waveform

Back 48

Plot of changes in amplitude over time for a particle, object, or system


The waveform is actually a representation of a particle motion or system motion in time

Front 49

Wave motions are

Back 49

disturbances moving through a medium, that…

Transfer energy in a radiant manner from a source, with...

Moving out in all directions from source

Front 50

Wave motions transfer...

Back 50

Transfer energy in a radiant manner from a source, with...

Moving out in all directions from source

Front 51

The speed of wave propagation is...

Back 51

how quickly it is traveling or radiating

Front 52

The speed of wave propagation depends on...

Back 52

the physical characteristics of the material through which the wave travels

Front 53

Three types of waves are defined

Back 53

Transverse Waves (stadium waves)

Longitudinal Waves

Surface Waves

Front 54

Transverse Waves (stadium waves)

Back 54

Cause the medium to move perpendicular to the direction of the waves travel.

Displacement of particles is at right angles to the direction of wave propagation

Ex: slinky motion

Front 55

Longitudinal Waves

Back 55

Cause the medium to move parallel to the direction of the waves travel.

Displacement of particles is in the same direction of wave propagation

Ex: Sound waves

Front 56

Surface Waves

Back 56

Are both transverse waves and longitudinal waves mixed in one medium

Displacement is circular

Ex: Water motion

Front 57

Reflection is a type of

Back 57

boundary condition.

Front 58

Three different types of Reflected waves:

Back 58

Echo, Reverberation, and Resonance (interaction of incident waves w/ reflected waves)

Front 59

Difference between echo, reverberation, and resonance depends on

Back 59

DISTANCE between the sound source and the reflective surface (or the time it takes for that sound to get to its reflective surface and bounce back)

Front 60

Echo

Back 60

Occurs when sound is reflected off a distant surface

The reflecting sound is heard AFTER you hear your own production

Front 61

Reverberation

Back 61

Think of it as a more refined form of echo.

Occurs within smaller & enclosed spaces where the sound bounces from wall to wall DURING the time the sound you’re producing is heard.

As sound is reflected from wall to wall within a small room, the reflected sound can enhance or degrade the original sound source somewhat.

Front 62

INTERFERENCE

Back 62

Special situation arises from the idea of two waves crossing each other in time

Front 63

In-phase means

Back 63

Waves have amplitudes that are changing or rising in the same direction

Front 64

When two (or more) waves are in-phase, they interfere...

Back 64

Constructively, creating a resultant wave that has a greater amplitude than either of the first two individual waves by themselves.

BASICALLY: Waves and their amplitudes are adding up

Front 65

Opposite-phases means

Back 65

Trough and crest happen at the same time

Front 66

When the two waves have opposite-phases they interfere how?

Back 66

Destructively and the amplitude of the resultant wave is attenuated (lowered).


This means: Wave amplitudes take away from each other

Front 67

Standing Waves arise from interference patterns that are...

Back 67

Synchronized in time and space

Front 68

STANDING WAVE

Back 68

When energy (in our case, sound pressures) is placed into a system that is enclosed or small and confined, a dynamic condition arises that produces this unique form or type of a wave

Front 69

STANDING WAVES are created...

Back 69

Standing waves are created whenever two waves with the same wavelength are passing in opposite directions to each other in the same medium.

In essence, the wavelength and period of the reflected wave is synchronized to the wavelength and period of the incident wave, giving us the illusion that the resultant wave is not moving.

Front 70

What is giving us the illusion that the resultant wave is not moving in the standing waveform?

Back 70

In essence, the wavelength and period of the reflected wave is synchronized to the wavelength and period of the incident wave, so it looks like it is not moving.

Front 71

ANY complex period waveform…

Back 71

…Is simply the linear summation of a series of sinusoids

Front 72

Lowest frequency is ...

Back 72

Lowest frequency is the “Base Freq” or Fo

For a complex periodic waveform (one made up of several individual pure tone sinusoids), the F0 is the “base frequency”

Front 73

Harmonics are...

Back 73

Harmonics are whole number multiples of the Fo

All other sine waves that exist in the complex periodic wave must be related to the base frequency and are referred to as harmonics

Front 74

Fo & Harmonics

Back 74

For a complex periodic waveform (one made up of several individual pure tone sinusoids), the F0 is the “base frequency”

All other sine waves that exist in the complex periodic wave must be related to the base frequency and are referred to as harmonics

If F0 = 100 Hz, then harmonics are 200, 300, 400
If F0 = 300 Hz, then harmonics are 600, 900, 1200
If F0 = 500 Hz, then harmonics are 1000, 1500, 200

Front 75

If during reflection, the incident wave and the reflected wave have the same wavelength…

Back 75

...Then reflection sets up a constant process of construction and deconstruction (interference) producing the resultant – standing wave (be able to draw and define)

Front 76

Draw and define the standing wave

Back 76

Standing waves are created whenever two waves with the same wavelength are passing in opposite directions to each other in the same medium.

In essence, the wavelength and period of the reflected wave is synchronized to the wavelength and period of the incident wave, giving us the illusion that the resultant wave is not moving.

Front 77

When the phases are the same, the resultant wave is amplified…

Back 77

It is greater in amplitude than the component waves by themselves (can be positive or negative amplification)

Front 78

“Modes of vibration”

Back 78

“Modes of vibration” are motion patterns that a system can create or support based on its
1) boundary conditions,
2) the amount of energy put into the system (respiratory drive and glottal spectra), and
3) its physical characteristics (of system – in this case, vocal tract)

Front 79

“Modes of vibration” are motion patterns that a system can create or support based on its

Back 79

1) boundary conditions

2) the amount of energy put into the system (respiratory drive and glottal spectra)

3) its physical characteristics (of system – in this case, vocal tract)

Front 80

The vocal tract is a flexible tube or enclosure, with a sound source at one end… that sound source is?

Back 80

The vibrating vocal fold

Front 81

If you place a frequency energy into the vocal tract tube or enclosure that MATCHES the natural vibrating mode of the tube itself or the air inside the tube...

Back 81

...then the amplitude of the resulting wave is increased

This gets us to our last form of reflection…RESONANCE

Front 82

Natural frequency-

Back 82

what the tube like to sound like/ idea brings us to the idea of resonance

Front 83

RESONANCE

Back 83

All objects and systems can be made to vibrate AND we know that they have a certain ‘natural’ frequency at which they will vibrate MOST STRONGLY (with maximum amplitude) based on the physical properties of the system

These are the vibrating modes of the system

(the slinky example/ base frequency)

Front 84

The exact frequency at which something naturally vibrates is determined by its...

Back 84

It's size, length and overall shape.

And also, whatever it is composed of, or made of

Front 85

Resonant Frequency of the object

Back 85

The frequency (Hz) that an object naturally vibrates maximally

Front 86

Two Types of Resonators:

Back 86

Mechanical versus Acoustical Resonators

Front 87

Resonators are...

Back 87

Any material objects that can “respond” to an outside energy source.

Front 88

Mechanical Resonators:

Back 88

The object itself is put into vibration (a swing, the slinky)

Energy source is physically linked to the ‘responding’ system

Front 89

Acoustical Resonators:

Back 89

Volume of air in tube (or an enclosure) is actually placed into vibration.

This type of resonator is enormously important for speech and vocalization.

RF of an acoustical resonator depends on its volume

Small volumes resonate high frequencies and large volumes resonate lower frequencies.

Front 90

Acoustical Resonators:

RF of an acoustical resonator depends on its volume..

Back 90

Small volumes resonate high frequencies and large volumes resonate lower frequencies.

Front 91

Acoustical Resonators:

Small volumes resonate

Back 91

high frequencies

Front 92

Acoustical Resonators:

Large volumes resonate...

Back 92

lower frequencies

Front 93

Think of Resonant Frequencies as

Back 93

“Natural” points of energy amplification

Front 94

All objects favor their natural modes of...

Back 94

Vibration or RF’s (resonance frequencies)

A mode represents patterns of vibration, which require the least amount of energy to achieve.

Front 95

Thus, objects are most easily forced into resonant vibration when...

Back 95

... disturbed at or with energy whose frequencies match with the object’s natural modes.

Front 96

Think of Resonant Frequencies as “Natural” points of energy amplification

Back 96

All objects favor their natural modes of vibration or RF’s (resonance Frequencies)

A mode represents patterns of vibration which require the least amount of energy to achieve.

Thus, objects are most easily forced into resonant vibration when disturbed at or with energy whose frequencies match with the object’s natural modes.

Outside “driving forces” are needed to force the vibration of the object or system.

When the driving freq matches the RF, because of interference patterns, the object becomes a “natural” amplifier for a specific frequency of the driving force’s energy. (matches frequency of the tube= bigger amplitude)

-What does that mean?- signal with 200, 400, and 600 components

-Tube has resonant frequency of 400 Hz- 400 Hz will be amplified

- Others, if they pass through, will be dampened or attuned

-Again, recall that the EXACT FREQUENCY at which the resonates is determined by its SIZE AND OVERALL SHAPE

- Pharyngeal and oral vocal tract cavities

Front 97

Outside “driving forces” are needed to...

Back 97

force the vibration of the object or system

Front 98

When the driving freq matches the RF, because of interference patterns...

Back 98

...the object becomes a “natural” amplifier for a specific frequency of the driving force’s energy.

Front 99

When the driving freq matches the RF, because of interference patterns, the object becomes a “natural” amplifier for a specific frequency of the driving force’s energy.

What does that mean?

Back 99

Signal with 200, 400, and 600 components

Tube has resonant freq of 400 Hz – 400 Hz will be amplified

Others, if they pass through, will be dampened or attenuated

Front 100

Again, recall that the exact frequency at which the container resonates is determined by its...

Back 100

...size and overall shape

And pharyngeal and oral vocal tract cavities

Front 101

Summarizing Resonance

Back 101

Vibration from one object can set other objects into motion.

In the vocal tract, the folds are setting the air within the tube of the vocal tract into motion.

The VT‘s length supports the generation of modes that are in the same range as the vibration patterns being created by the vocal folds.

When the mode of the air within the tube matches the frequency energy created by the vocal folds, we get a resonance.

The better and closer the match, the greater the amplitude increase for that frequency – means that frequency will get louder than all other frequencies being put into the system

Front 102

Vibration from one object can....

In the vocal tract, this means...

Back 102

...set other objects into motion.


In the vocal tract, the folds are setting the air within the tube of the vocal tract into motion.

Front 103

The VT‘s length supports the generation of modes that are...

Back 103

...in the same range as the vibration patterns being created by the vocal folds.

Front 104

We get a resonance when...

Back 104

When the mode of the air within the tube matches the frequency energy created by the vocal folds

Front 105

The better and closer the match to the frequency energy created by the vocal folds,

Back 105

the greater the amplitude increase for that frequency – means that frequency will get louder than all other frequencies being put into the system

Front 106

What happens to complex waves in a resonator?

Back 106

Recall that complex waves have a Fo and some x number of harmonics.

Because resonators are capable of highlighting or accentuating those frequencies (can also dampen or attenuate which is the opposite) in the complete complex signal that match the resonator’s natural modes

The resonator is acting like a FILTER (amplifying some, dampening/attenuating others)

Highlighting some frequencies of the complex waves components and suppressing others

Resonator STILL has its own natural RF at which it will resonate maximally (achieve max amp)

Often we are talking about a single tube – vocal tract has 2, some times 3 tubes – multiple resonant frequencies

Front 107

Complex waves have...

Back 107

...a Fo and some x number of harmonics.

Front 108

Because resonators are capable of highlighting or accentuating those frequencies and it can also dampen or attenuate which is the opposite, in the complete complex signal that match the resonator’s natural modes the resonators is acting like...

Back 108

The resonator is acting like a FILTER (amplifying some, dampening/attenuating others)

Highlighting some frequencies of the complex waves components and suppressing others

Resonator STILL has its own natural RF at which it will resonate maximally (achieve max amp)

Often we are talking about a single tube – vocal tract has 2, some times 3 tubes – multiple resonant frequencies

Front 109

In the complete complex signal that match the resonator’s natural modes, the resonators are capable of...

Back 109

resonators are capable of highlighting or accentuating those frequencies and it can also dampen or attenuate which is the opposite,

Front 110

The resonator is acting like a FILTER meaning....

Back 110

IN COMPLEX WAVES:

Highlighting some frequencies of the complex waves components and suppressing others

Resonator STILL has its own natural RF at which it will resonate maximally (achieve max amp)

Front 111

Systems that change the relationship among components of a complex waveform...

Back 111

Filters

Front 112

A filter is basically a...

Back 112

system that performs an action on inputs fed into it

It passes frequencies and rejects (attenuates) others, based on it’s physical or mathematical characteristics, such as.

Front 113

Low-pass filters:

Back 113

Passing low frequencies
Rejecting high frequency

Front 114

High-pass filters:

Back 114

Passing high frequencies
Rejecting low frequencies

Front 115

Band-Pass filters:

Back 115

Passing a range of frequencies
Rejecting frequencies outside of range

Front 116

Bandwidth –

Back 116

A range of frequencies that a resonator will transmit or pass with minimal reduction in amplitude

Freq Hi – Freq Lo

Front 117

Cut-off Frequency (frequencies) –

Back 117

Discrete point on the curve where the intensity (amp) value of a range of frequencies has decreased by 3 dB from the value of the peak intensity.

3 dB down defines the boundaries of our bandwidth.

Front 118

Resonators are in essence, selective to...

Back 118

frequency

Front 119

Resonator systems are _______________ when presented with a complex wave; in other words, ______________________

Back 119

Resonator systems are frequency selective when presented with a complex wave; in other words, they filter complex signals

Front 120

Resonator systems selectively pass ___________________ and attenuate ________________________________

Back 120

Resonator systems selectively pass frequencies at their resonant frequencies and attenuate other frequencies found in the driving energy source

Front 121

It IS possible to push a resonator into highlighting a non-preferred frequency if ...

Back 121

you put enough energy into the system

Front 122

Selection of the RF is based on...

Back 122

the inherent properties of the system (mucus, thickness, lubrication ect)

Front 123

Frequencies remote from the peak of the system response are said to be...

Back 123

effectively filtered out

In effect, the contribution of some frequencies are emphasized and others diminished in the sound output you hear

Front 124

Narrowly tuned

Back 124

Closer to a pure tone signal


Ex: only accepting 500 Hz; some other frequencies will get through but will amplify above all other the 500 Hz frequency

Front 125

Broadly tuned

Back 125

Ex: broadly tuned from 500 – 900 Hz; those are the frequencies it will amplify

More frequencies evenly and equally represented

Front 126

Describing the filtering process of a resonator mathematically requires the use of a...

Back 126

Transfer Function

Front 127

A transfer function defines...

Back 127

The relationship between the inputs into a system and the outputs produced by the system

Front 128

In other words, a transfer function describes the...

Back 128

Shape of the filter

Front 129

Ex of transfer function: Making cookies

Back 129

Sheet of dough = input

Cookie cutter = system (operating on the dough)

Trims away excess dough to produce the shape you want

Cookies made up of selected frequencies from input = output

Front 130

The curve of a TRANSFER FUNCTION DOES NOT represent...

Back 130

a sound wave

Front 131

The curve of a TRANSFER FUNCTION shows you...

Back 131

...How the physical features of the resonator affects the amplitudes of the various frequency components of the energy passing through it.

Front 132

The TRANSFER FUNCTION curve shows you how the features of...

Back 132

A sound input into a resonator are changed by the physical characteristics of the resonator itself.

Front 133

The Basic Idea

Back 133

When you use the musculature of the vocal tract to change the size of different regions of the vocal tract you create different resonance patterns that also interact with one another

It is these patterns and these interactions that dictate what sound you will perceive when it is spoken

Ex: plastic models of vocal tract for vowels in English

Note the different sizes, volumes, shapes of the different regions of these plastic models
Each volume maps onto a different segment of the vocal tract

Front 134

When you use the musculature of the vocal tract to change the size of different regions of the vocal tract you create ...

Back 134

...different resonance patterns that also interact with one another


It is these patterns and these interactions that dictate what sound you will perceive when it is spoken

Front 135

What dictates what sound you will perceive when it is spoken?

Back 135

When you use the musculature of the vocal tract to change the size of different regions of the vocal tract you create different resonance patterns that also interact with one another

It is these patterns and these interactions that dictate what sound you will perceive when it is spoken

Front 136

We can model the VT as series of...

Back 136

Interlinked tubes that can change their shape and volume dynamically

Front 137

Quarter-wave resonator =

Back 137

Tube closed at one end (glottis) and open at the other end (lips)

Front 138

VT =

Back 138

Series of containers hooked up to each other

Each container has its own different filtering properties

Therefore each container has its own resonating frequency (RF)

And the vocal tract resonates at numerous RFs (these are called formants)

But, each container can change its shape dynamically

Thus, resonant frequencies (RF’s) will constantly be changing also

Front 139

And the vocal tract resonates at numerous RFs called...

Back 139

Formants

Front 140

But, each container of the vocal tract can change its shape dynamically, thus...

Back 140

...resonant frequencies (RF’s) will constantly be changing also

Front 141

VT will resonate or absorb energy best...

Back 141

at a frequency with a wavelength 4 times the length of the tube

All of this is only for ONE SOUND!

Front 142

VT will resonate or absorb energy best a frequency with a wavelength 4 times the length of the tube

All of this is only for ONE SOUND!

Back 142

All of this is only for ONE SOUND!
Adult males – 17.5 cm
So wavelength of first resonant frequency is 70 cm
Adult females – 14.7 cm

Calculating…
Males = 340/.7 = 485.7 Hz = first resonant frequency

Females = 340 / .588 = 578.23 Hz

Children = 340 / .35 = 971.42 Hz

Wavelength is 58.8 cm

Small children – 8.75 cm

Wavelength is 35 cm

Front 143

Fundamental wave equation:

Back 143

f = V / wavelength

V = velocity of air

Where v = 340 m/sec in room temperature at normal altitudes

Temperature, altitude, how quickly traveling – will affect frequency

Change cm to m = 70 cm = 0.7 m

Front 144

To determine other resonant frequencies (aka formants), find the...

Back 144

....odd-numbered multiples of the lower frequency
Ex: 485.7 Hz x3, x5, x7... etc….
Ex: 578.23 Hz x3, x5, x7…

Front 145

Formalize all these ideas into the Source-Filter Theory of Speech Production....

Back 145

Energy from the sound source (vocal fold vibration) is modified (filtered) by the resonance features of the vocal tract

The vocal tract’s shape operates to filter the frequency energy produced by the vocal folds.

The shape of the output spectrum (the spectrum you hear and recognize as a phoneme) represents the transfer function of the vocal tract on the sound source.

This implies that the output spectra registered at the lips is modified dramatically from that produced at the glottis.

Front 146

Energy from the sound source (vocal fold vibration) is modified (filtered) by...

Back 146

the resonance features of the vocal tract

Front 147

The vocal tract’s shape operates to...

Back 147

Filter the frequency energy produced by the vocal folds.

Front 148

output spectrum

Back 148

the spectrum you hear and recognize as a phoneme

Front 149

The shape of the output spectrum represents....

Back 149

The transfer function of the vocal tract on the sound source.

Front 150

Source-Filter Theory of Speech Production implies....

Back 150

This implies that the output spectra registered at the lips is modified dramatically from that produced at the glottis.

Front 151

A few concrete examples of Source-Filter Theory of Speech Production

Back 151

The glottal spectra is a stereotyped input

It always has the same gradually falling slope to it

Depending on how the vocal tract is shaped, this input is altered to highlight different frequencies as seen in the output spectra of the sound recorded at the lips

For the following figure keep in mind these relations:
Glottal spectra = input
VT shape = transfer function
Vowel spectra = output

Front 152

The glottal spectra is a...

Back 152

...stereotyped input

Front 153

The glottal spectra always has the same...

Back 153

...gradually falling slope to it

Front 154

Depending on how the vocal tract is shaped, the stereotyped input of the glottal spectra, is...

Back 154

...altered to highlight different frequencies as seen in the output spectra of the sound recorded at the lips

Front 155

For the following figure keep in mind these relations:

Glottal spectra =
VT shape =
Vowel spectra =

Back 155

Glottal spectra = input
VT shape = transfer function
Vowel spectra = output

Front 156

The peak amplitude frequencies of the vowel spectra are called ______ in the speech world

Back 156

FORMANTS

Front 157

FORMANTS

Back 157

The peak amplitude frequencies of the vowel spectra

They are numbered from left to right as F1, F2, F3… etc…in the speech world

Front 158

Formants in the speech world are numbered...

Back 158

They are numbered from left to right as F1, F2, F3… etc…

Front 159

Formants ARE the “vocal tract’s” ..

Back 159

...resonances (resonant frequencies)

Front 160

Formants ARE the...

Back 160

...“natural” modes of vibration for different parts or chambers within the whole VT tube.

Front 161

If formants ARE the “natural” modes of vibration for different parts or chambers within the whole VT tube....
Formants are thus the ...

Back 161

harmonics from the glottal source that lie within the resonator's bandwidth
Boosted over all other harmonics

Front 162

What determines which vowel you will perceive?

Back 162

The lowest three formants

Front 163

What formants are of interest in most typical speech science applications?

Back 163

Only the lowest three formants are of interest in most typical speech science applications

These three determine which vowel you will perceive

Front 164

The first 3 formant peaks determine...

Back 164

...which vowel you will perceive

Front 165

Connected together, the formants make up...

Back 165

...the transfer function of the VT

Front 166

Each peak in the transfer function =

Back 166

A formant peak

Front 167

A formant peak is...

Back 167

Each peak in the transfer function

Front 168

Acoustic Analysis of Speech: The Problem

Back 168

Acoustic signal is constantly changing and is complex.

Acoustic (simple audio) signal displays amplitude changes in time, not frequency changes in time.

The speech waveform can be viewed as an acoustical time domain signal, capturing the intensity dynamics of speech very well in time.

But it does not easily describe the frequency relations and changes to the VT’s transfer function during running speech.

Front 169

Acoustic (simple audio) signal displays _______________, not_________________

Back 169

Acoustic (simple audio) signal displays amplitude changes in time, not frequency changes in time.

Front 170

The speech waveform can be viewed as....

Back 170

...an acoustical time domain signal, capturing the intensity dynamics of speech very well in time.

Front 171

Acoustic signal does not easily describe...

Back 171

... the frequency relations and changes to the VT’s transfer function during running speech.

Front 172

Frequency “spectrum” plots are useful for...

Back 172

...seeing the state of a complex waveform at ONLY an instant in time

Front 173

Spectrums alone tell you nothing about...

Back 173

...how the speech signal is changing THROUGH time

Front 174

Spectrums are...

Back 174

...snapshots of a sound’s harmonic structure at a single moment in time.

Front 175

Spectrums tell you nothing about how…

Back 175

…These harmonic structures are changing through time during running speech.

Front 176

How do we “see” the harmonic changes that are occurring as a consequence of changes in the vocal tract’s transfer function* through time?

Back 176

The Solution is a Spectrogram

Front 177

Spectrograms are a convenient way to...

Back 177

...diagram the changes in a sound's spectrum as it runs through time.

Front 178

“Running spectrum”.

Back 178

The spectrogram is a “running spectrum”.
it displays a continuously changing spectral patterns IN TIME

Front 179

The spectrogram allows you to directly visualize the changes in...

Back 179

Formant frequencies AND amplitudes during running speech.

Front 180

You can think of a spectrogram as a continuous...

Back 180

Fourier analysis for the word or phase you are analyzing

Front 181

Speech is constantly being decomposed into...

Back 181

...its frequency and amplitude components along the time domain.

Front 182

A spectrogram is a 3 dimensional plot...

Back 182

The horizontal dimension (X axis) represents time.

The vertical dimension (Y axis) represents frequency.

The Z-axis is intensity represented by variations in darkness.

Front 183

The horizontal dimension (X axis) on a spectrogram represents...

Back 183

TIME

Front 184

The vertical dimension (Y axis) on a spectrogram represents...

Back 184

FREQUENCY

Front 185

The Z-axis on a spectrogram represents...

Back 185

Intensity represented by variations in darkness

Front 186

Components of Spectrograms

Back 186

Each thin vertical slice of the spectrogram shows ONE spectrum plot during a short period of time, using “darkness” (grey scale level) to indicate amplitude changes in a 2-D image.

Formant bands on a spectrogram are created when you pancake individual spectra side to side.

Darker areas are those frequencies having higher amplitudes.

Front 187

Each thin vertical slice of the spectrogram shows-

Back 187

ONE spectrum plot during a short period of time

Uses “darkness” (grey scale level) to indicate amplitude changes in a 2-D image.

Front 188

Formant bands on a spectrogram are created when...

Back 188

...you pancake individual spectra side to side

Front 189

Darker areas on a spectrogram are...

Back 189

Darker areas are those frequencies having higher amplitudes

Front 190

Formant is not just ________.

Back 190

one frequency

Front 191

All the frequencies that are in the passband make up ____________.

Back 191

the formant

Front 192

Important features of a formant include:

Back 192

Center frequency (aka, Formant Freq)

bandwidth

amplitude of the passband

3 dB down or cut-off

Front 193

Numbering the formant bands...

Back 193

F1, F2, F3
Occasionally, the Voice Bar is seen.
Represents F0
Formant Transitions reflect changes in the volume of vocal tract spaces in time.

Front 194

Formant Transitions reflect ....

Back 194

...changes in the volume of vocal tract spaces in time.

Front 195

Fo is not related to ____________!!!!

Back 195

resonance

Front 196

Resonances are due to the size and shape of the container/cavity, not the __________________.

Back 196

nature of the sound source into that container

Front 197

A speaker’s fundamental frequency does not affect __________________.

Back 197

the formant frequencies

Front 198

A speaker’s pitch is determined by the ___________________.

Back 198

rate of vocal fold vibration (i.e., the fundamental frequency)

Front 199

Changing the size of the vocal tract, by moving the articulators, affects ____________________, but not ________________________.

Back 199

Changing the size of the vocal tract, by moving the articulators, affects the formant frequencies, but not the speaker’s fundamental pitch (fo)....

Front 200

When using the labels F1, F2, F3, etc when you refer to formants, remember that:

Back 200

F1 DOES NOT EQUAL or imply the fundamental frequency

F1 is actually the harmonic located immediately located above the Fo

Fo is a function of the glottal source, not the resonance of VT

Front 201

When using the labels F1, F2, F3, etc when you refer to formants, remember that:
F1 DOES NOT ______________

Back 201

EQUAL or imply the fundamental frequency

Front 202

When using the labels F1, F2, F3, etc when you refer to formants, remember that:

F1 is actually ________

Back 202

The harmonic located immediately located above the Fo

Front 203

When using the labels F1, F2, F3, etc when you refer to formants, remember that:

Fo is a ______________, not _______

Back 203

Function of the glottal source, not the resonance of VT

Front 204

Male Example
Fund freq = 100 Hz
First resonant freq =

Back 204

485 Hz (F1) x3 (F2) X5 (F3)

Front 205

It is not the actual values of formants that allow you to hear an /a/ vs. an /i/.
Rather it is __________________________.

Back 205

Rather it is how the formant frequencies compare to each other

Front 206

When a speaker produces the vowel /i/ we hear that because of _____________

Back 206

...How F1 compares to F2 and F3
It is the pattern of formants in the output

Front 207

Physiologically, formant frequencies are related to ___________________

Back 207

Oral and pharyngeal volumes

Front 208

The frequency of F1 is generally related to ___________________.

Back 208

The volume & length of the pharyngeal cavity

Front 209

The frequency of F2 is generally related to _______________________.

Back 209

The volume & length of the oral cavity

Front 210

The frequency of F1 is generally related to _____________ and
the frequency of F2 is generally related ___________________.

Back 210

The frequency of F1 is generally related to the volume & length of the pharyngeal cavity.

The frequency of F2 is generally related to the volume & length of the oral cavity

Front 211

Always remember that the range of the frequencies that will resonate within any tube depends on the .....

Back 211

VOLUME, SIZE, AND LENGTH OF THE TUBE

Front 212

If the tongue is positioned to create a smaller oral cavity relative to that of the pharyngeal cavity you get:

Back 212

Lower F1 frequency (relating to pharyngeal cavity volume)

Higher F2 frequency (relating to oral cavity volume)

Front 213

If the tongue is positioned to create a smaller oral cavity relative to that of the pharyngeal cavity you get:

Why?

Back 213

Lower F1 frequency (relating to pharyngeal cavity volume)

Why? – the larger volume of pharynx will resonant lower frequencies of the glottal source

Higher F2 frequency (relating to oral cavity volume)

Why? – the reduced length of the oral cavity boosts the high frequency of the glottal source

Front 214

If the tongue is positioned to create a larger oral cavity relative to the pharyngeal cavity you get:

Back 214

Higher F1’s- relative to where they “should be”

Lower F2’s – relative to where they “should be” (remember to get this formant we multiply F1 by 3!)

Why?- the opposite reasons

Front 215

Traditionally, vowels are classified primarily according to ...

Back 215

...tongue body location in the oral cavity.

Front 216

Tongue height and advancement are...

Back 216

...two dimensions that can be manipulated by the speaker to change the resonance features of the sound.

Front 217

Schematically, we can plot Tongue height and advancement dimensions and the sounds that emerge from them on ______________

Back 217

A graph called a vowel quadrilateral

Front 218

Vowel quadrilateral

Back 218

Tongue height and advancement dimensions and the sounds that emerge from them plotted on a graph called a vowel quadrilateral


Horizontal plane represents tongue advancement

Vertical plane represents tongue height

Front 219

Horizontal plane on the vowel quadrilateral represents....

Back 219

Horizontal plane represents tongue advancement

Front 220

Vertical plane on the vowel quadrilateral represents....

Back 220

Vertical plane represents tongue height

Front 221

Tongue is a movable wall/barrier that influences...

Back 221

...volumes in the oral and pharyngeal area.

Front 222

Vowel Quadrilateral physiologically represents __________.

Back 222

tongue placement

Front 223

A listener can literally "hear" the position of the speaker's tongue body if you understand ______________________.

Back 223

The trade-off in regional volumes with respect to tongue position.

Front 224

There are some orderly generalities with regard to the formants that we can extract:

Back 224

F1 value is mostly influenced by tongue body height (high or low-ness) position.

F2 value is mostly influenced by tongue body Anterior-Posterior position (front-ness or back-ness), advancement

Front 225

Tongue body height relates to:

Back 225

the high or low-ness position

Front 226

Tongue body Anterior-Posterior position relates to:

Back 226

The front-ness or back-ness advancement

Front 227

F1 value is mostly influenced by __________ in relation to the tongue body.

Back 227

tongue body height position

(high or low-ness)

Front 228

F2 value is mostly influenced by __________ in relation to the tongue body.

Back 228

Tongue body Anterior-Posterior position advancement

(front-ness or back-ness)

Front 229

REMEMBER THIS…
F1 is influenced by =

F2 is influenced by =

Back 229

F1 = pharyngeal cavity and tongue height

F2 = oral cavity and tongue advancement (movement in anterior-posterior direction)

Front 230

F1 is influenced by what two aspects?

Back 230

F1 = pharyngeal cavity and tongue height

Front 231

F2 is influenced by what two aspects?

Back 231

F2 = oral cavity and tongue advancement (movement in anterior-posterior direction)

Front 232

High vowels (/i/ & /u/) have _____________F1’s, than Low vowels ( _______ cavity is ______)

Back 232

High vowels (/i/ & /u/) have LOWER value F1’s, than Low vowels (PHARYNGEAL cavity is LARGER)

Front 233

Two high vowels:

Back 233

/i/ & /u/)

Front 234

Low vowels (/ae/ & /a/) have __________________ F1’s than High vowels (______ cavity now _______)

Back 234

Low vowels (/ae/ & /a/) have HIGHER value F1’s than High vowels (PHARYNGEAL cavity is now SMALLER)

Front 235

Two low vowels:

Back 235

(/ae/ & /a/)

HIGHER value F1’s than High vowels

(pharyngeal cavity now smaller)

Front 236

Back vowels (/u/ & /a/) have ____________ F2’s than Front vowels (_____ cavity is ______)

Back 236

Back vowels (/u/ & /a/)

LOWER value F2’s than Front vowels

(ORAL cavity is LARGER)

Front 237

Two back vowels:

Back 237

Back vowels (/u/ & /a/)

LOWER value F2’s than Front vowels

(ORAL cavity is LARGER)

Front 238

Front vowels (/I/ & /ae/) have ____________ F2’s than Front vowels (_____ cavity is ______)

Back 238

Front vowels (/I/ & /ae/)

HIGHER value F2’s than back vowels

(ORAL cavity now SMALLER)

Front 239

Two front vowels:

Back 239

Front vowels (/I/ & /ae/)

HIGHER value F2’s than back vowels

(ORAL cavity now SMALLER)

Front 240

The relative value of F1 is related to ______________.
The relative value of F2 is related to __________________.

Back 240

The relative value of F1 is related to tongue height.

The relative value of F2 is related to the anterior-posterior position of the tongue (tongue advancement).

Front 241

The relative value of F1 is related to ______________.

Back 241

The relative value of F1 is related to tongue height.

Front 242

The relative value of F2 is related to __________________.

Back 242

The relative value of F2 is related to the anterior-posterior position of the tongue (tongue advancement).

Front 243

Formants patterns of Vowels (refer to formants of schwa)

Front Vowel Patterns

Back 243

Large separation between F1 and F2

Small separation between F2 and F3

Front 244

Formants patterns of Vowels (refer to formants of schwa)

Back Vowel Patterns

Back 244

Small separation between F1 and F2

Large separation between F2 and F3

Front 245

Small separation between F1 and F2

Large separation between F2 and F3

Back 245

Back Vowel Patterns

Front 246

Large separation between F1 and F2

Small separation between F2 and F3

Back 246

Front Vowel Patterns

Front 247

Formants patterns of Vowels (refer to formants of schwa)

Central Vowel Patterns

Back 247

Uniform separation between F1, F2, and F3 (formants are equally spaced)

However, the r-colored vowels (-er) have a low F3, giving them a relatively small F2 – F3 difference

The value of F1 is approximately 500 Hz for an adult male speaker

All of this info has had to do with adult males and relative to the formants using schwa

Front 248

Uniform separation between F1, F2, and F3 (formants are equally spaced)

Back 248

Central Vowel Patterns

Front 249

For [i]

Back 249

(the vowel in the English word feed)

Described as High front unrounded:

The tongue is at the top of the mouth

The tongue is pushed towards the front of the mouth

The lips are spread (i.e. not rounded)

Front 250

For [u]

Back 250

(the vowel in food)

High back rounded:

The tongue is at the top of the mouth (high)

The tongue is bunched towards the back of the mouth

The lips are rounded

Front 251

For [ɑ]

Back 251

(the vowel in far)

Low back unrounded:

* The tongue is lowered

* The tongue is at the back of the mouth

* The lips are not rounded

Front 252

For [ɜ]

Back 252

(the vowel in fur)

Mid central neutral:

* The tongue is neither raised nor lowered; it is in a mid position

* The tongue is bunched neither at the front nor the back of the mouth; it is central

* The lips are in a neutral position

Front 253

Lip Rounding Patterns

Back 253

In English,

back vowels tend to be produced with lip rounding

front vowels are produced with little or no lip rounding.

The acoustic correlate of lip rounding is lowering of all of the formant frequencies

Lengthens tube = greater volume =passes lower frequencies

Lip rounding effectively lengthens the vocal tract

Front 254

In English, back vowels tend to be produced _____________ and front vowels are produced __________.

Back 254

In English, back vowels tend to be produced with lip rounding and front vowels are produced with little or no lip rounding.

Front 255

Lip rounding effectively_________.

Back 255

lengthens the vocal tract

Front 256

The acoustic correlate of lip rounding is ____________________.

Back 256

lowering of all of the formant frequencies

Front 257

In English, back vowels tend to be produced _____ lip rounding.

Back 257

WITH

Front 258

In English, front vowels are produced _______ lip rounding.

Back 258

WITH LITTLE OR NO

Front 259

The acoustic correlate of lip rounding is lowering of ____________. This means the tube______and volume__________.

Back 259

all of the formant frequencies

Lengthens tube = greater volume THUS passes lower frequencies

Front 260

Remember that vowels….

Back 260

Vowels are produced with a relatively open vocal tract and laminar flow throughout the tract.

Vibration of the vocal folds is the sound source for vowel production
- Vowels are then all voiced

The shape of the vocal tract determines the resonance pattern (formants) for a particular vowel.

Vowels will have many discrete regions of energy (formants) and are the longest duration of all phonemes.

Front 261

Vowels are produced with a _______ vocal tract and __________ throughout the tract.

Back 261

Vowels are produced with a relatively open vocal tract and laminar flow throughout the tract.

Front 262

Vibration _______________________ vowel production

Vowels are ALL _______

Back 262

Vibration of the vocal folds is the sound source for vowel production

Vowels are then all voiced

Front 263

The shape of the vocal tract determines ___________________.

Back 263

The resonance pattern (formants) for a particular vowel.

Front 264

Vowels will have many discrete regions of ____________ and are the ___________ of all phonemes.

Back 264

Vowels will have many discrete regions of energy (formants)

and are the longest duration of all phonemes.

Front 265

Consonants are formed by ______________

Back 265

Regions of varying degrees of constriction produced by articulator motion and posturing

Front 266

Three places to look for narrowing of VT (for English)

Back 266

Lips

Alveolar ridge

Velum

Front 267

Turbulence is generated at----

Back 267

The three places of narrowing of VT

Lips
Alveolar ridge
Velum

Front 268

Sound source is __________ noise

Back 268

aperiodic

Front 269

Source created through:

Back 269

Pressure buildup

Forced airflow through articulation points or regions of constrictions

Front 270

Two general “flavors” of consonants

Back 270

Voiced consonants

Unvoiced consonants

Front 271

Voiced consonants

Back 271

Will have formants present to some degree

Higher freq diffuse energy is also visible in the background.

Front 272

Unvoiced consonants

Back 272

Unvoiced consonants will NOT have any formants.

Still a noise and still has frequency spectrum = can highlight particular frequencies which are resonant frequencies

They will also possess broad regions of diffuse energy in the output spectra

Front 273

Voiced consonants will have...

Back 273

Will have formants present to some degree

Front 274

Unvoiced consonants will NOT have ______.

Back 274

Unvoiced consonants will NOT have any formants.

Front 275

Can the source-filter theory we have developed for vowels also account for consonant production?

Back 275

YES

Even though the sound source is not vocal fold vibration, there is a still a SOURCE of energy being created and a FILTER present in the front of the sound source (resonating chamber)

Front 276

Even though the sound source is not vocal fold vibration, there is a still ________________ being created and a __________________.

Back 276

Even though the sound source is not vocal fold vibration, there is a still a SOURCE of energy being created and a FILTER present in the front of the sound source (resonating chamber)

Front 277

Our basic problem in studying the articulators of the vocal tract is that…

Back 277

Besides the lips, the rest of the vocal tract is very difficult visualize and access for detailed investigation.

No other species has verbal speech, beside the human.

This limits our use of animal research strategies.

So..we have to be creative in our approaches to studying the vocal tract’s neuromuscular subsystems.

Front 278

Coarticulation effects

Back 278

Wrong to assume that each sound is produced in isolation and then strung together to form a word (like bricks in a row).

Due to the highly sequential and rapid nature of speech, overlap in gesture performance is extensive (more like roofing tiles)

Front 279

Coarticulation effects:
Wrong to assume that each sound is produced ____________

Back 279

In isolation and then strung together to form a word (like bricks in a row).

Front 280

Coarticulation effects:
Due to the highly sequential and rapid nature of speech, ______________

Back 280

overlap in gesture performance is extensive (more like roofing tiles)

Front 281

What do you think are the consequences of coarticulation effect on what we hear?

Back 281

o The features of one sound influence the features of the next, or the one in front of it too.

o Acoustics of one sound becomes blended into the acoustics of the previous sound and the one coming up in time.

Front 282

The features of one sound influence _______.

Back 282

....the features of the next, or the one in front of it too.

Front 283

Acoustics of one sound becomes blended into _________________

Back 283

... into the acoustics of the previous sound and the one coming up in time.

Front 284

Articulatory movements___________.

Back 284

Articulatory movements overlap each other in time.

Front 285

Coarticulation refers to __________________ .

Back 285

How two or more articulators move at virtually the same time to produce two or more phoneme gestures

Front 286

Coarticulation refers to how two or more articulators move at virtually the same time to produce two or more phoneme gestures which are _____________________.

Back 286

Makes the whole issue of reading a spectrogram more complicated

Makes the whole issue of understanding the acoustic features of sounds more complicated.

Front 287

We have to take into account the ____________ in which every other sound exists in order to understand __________________ of our language.

Back 287

take into account the phonetic (or sound) context

in order to understand our ability to discriminate the phonemes of our language

Front 288

Scaling Method

Back 288

listener's subjectively rate a person’s overall speech intell.

Front 289

Identification Method

Back 289

listener transcribes speaker’s speech and id’s sound phonetically

Front 290

Traditional assessments are perceptually based on:
.

Back 290

Scaling Method

Identification Method

Front 291

While widely used, Scaling Method and Identification Method are ____________ .

Back 291

inadequate to understand the specific underlying biomechanical features of speech that are contributing to a decrease in intelligibility.

Front 292

Two patients with the same intelligibility rating will likely have _________.

Back 292

Two completely different underlying etiologies for the decreased intell.

Patients may sound the same but for two totally separate reasons.

The general nature of the rating also makes your vector to intervention more difficult to determine.

Front 293

What makes your vector to intervention more difficult to determine?

Back 293

The general nature of the rating also makes your vector to intervention more difficult to determine.

Front 294

The more specific you can be, the better and more efficient your efforts will be.

Back 294

• Acoustical analysis is another important means to specify the speaker’s articulatory behavior.

• Like all other analysis we’ve described….

o Treatment can be targeted and geared to the individual’s patterns, to increase the probability that therapy is as effective and efficient as possible.

Front 295

Acoustical analysis is another important means to ....

Back 295

...specify the speaker’s articulatory behavior

Front 296

Like all other analysis we’ve described….Treatment can be targeted and geared to the...

Back 296

.... individual’s patterns, to increase the probability that therapy is as effective and efficient as possible.

Front 297

Consonants are acoustically more _________________.

Back 297

Consonants are acoustically more complex to understand than vowels

Front 298

Consonants are acoustically more complex to understand than vowels

Hard to describe them with one set of measures:

Back 298

Some have significant noise energy (/f/), while others don’t (/r/).

Some are produced by complete obstruction (/b/) others only need a narrowing (/s/) of the system.

Some are strictly oral in their sound transmission, while others involve the nasal transmission of energy.

Front 299

Let’s study consonants based on acoustic and articulatory properties.

Back 299

Stops,
Fricatives,
Affricates,
Glides,
Nasals,
Liquids.

Front 300

STOPS

Back 300

Formed by totally blocking airflow out of the vocal tract.

Block lasts from 50 to > 100 msec.

Requires closure at the:
Glottis (closure of vocal folds)
Velum (closure between back of tongue and roof of mouth) – k, g
Alveolar ridge (closure with tongue tip) – t, d
Lips – p, b

Stops (Plosives) are thus known as Obstruents.

Burst and release of built-up high pressure IS the sound energy or sound source

Stops can also be voiced or voiceless.

Voiced would have two energies (burst + voicing energy of VFs)

Depending on the position in the word, …stop may be followed by a brief burst of air (stop release).

Aspiration (turbulence of air)
Stops can be aspirated (h-like noise) or unaspirated (/pat/ vs. /spat/)

Front 301

Stops are formed by....

Back 301

Formed by totally blocking airflow out of the vocal tract.

Front 302

Stops last...

Back 302

Block lasts from 50 to > 100 msec.

Front 303

Stops requires closure at the:

Back 303

Glottis (closure of vocal folds)

Velum (closure between back of tongue and roof of mouth) – k, g

Alveolar ridge (closure with tongue tip) – t, d

Lips – p, b

Front 304

Stops are also called ________ and are thus known as ______________.

Back 304

Plosives

Obstruents.

Front 305

Stops

Burst and release of built-up high pressure IS _____________________

Back 305

IS the sound energy or sound source



Voiced would have two energies (burst + voicing energy of VFs)

Depending on the position in the word, …stop may be followed by a brief burst of air (stop release).

Front 306

Stops can be ________ or ____________.

Back 306

Stops can also be voiced or voiceless.

Front 307

Stops can be ___________ or __________, depending on the position in the word.

Back 307

Stops can be aspirated (h-like noise) or unaspirated (/pat/ vs. /spat/)

Depending on the position in the word, …stop may be followed by a brief burst of air (stop release).

Front 308

Aspiration

Back 308

turbulence of air

Stop may be followed by a brief burst of air (stop release).

Front 309

Acoustic features of stop consonants used to cue_________.

Back 309

Differences in stop articulation

Front 310

STOP GAP or Silent gap

Back 310

time of airflow blockage

Front 311

Syllable initial and pre-vocalic

Back 311

Closure (stop gap), followed by impaction.

Release (burst)

Transition to the vowel (formant transition)

Front 312

Syllable-final and post-vocalic

Back 312

Transition from vowel

Closure

Release (aspirated noise burst) or No release (unaspirated)

Front 313

STOP GAP

Back 313

STOP GAP or Silent gap – time of airflow blockage

Syllable initial and pre-vocalic
-Closure (stop gap), followed by impaction.
-Release (burst)
-Transition to the vowel (formant transition)

Syllable-final and post-vocalic
-Transition from vowel
-Closure
-Release (aspirated noise burst) or No release (unaspirated)

Front 314

BURST –

Back 314

explosive burst of air rushed through the opening, involving energy in most or all of the audible spectrum…

Aperiodic noise

Front 315

Voiced Stops produce recognizable patterns of

Back 315

FORMANT TRANSITIONS to the vowel

o Seen in diphthongs and transition from voiced stop to a vowel

Front 316

__________________ cause the medium to move perpendicular to the direction of the waves travel.

Back 316

Transverse waves

Displacement of particles is at right angles to the direction of wave propagation (i.e.: slinky motion)

Front 317

Longitudinal waves cause

Back 317

the medium to move parallel to the direction of the waves travel.

Displacement of particles is in the same direction of wave propagation (i.e.: Sound waves)

Front 318

Surface waves are....

Displacement is...

Back 318

....both transverse waves and longitudinal waves mixed in one medium.

Displacement is circular (i.e.: Water motion)

Front 319

Explain...

Back 319

Red – hasn’t hit boundary until gray thing
- first incident
Hits boundary – bounces back
- reflected wave is reflected
- will go back to direction from which it came
Involved some part of sound wave bouncing back
- some surface examples:
mirror
hard, smooth surfaces will serve to reflect

Front 320

Explain constructive interference.

Back 320

Crest meets crests and doubles

Red (1) + blue (1) = green (2)

Front 321

Explain deconstructive interference.

Back 321

The two cancel each other out

Front 322

Explain

Back 322

- When two (or more) waves are in-phase (have amplitudes that are changing in direction) they interfere constructively, creating a resultant wave that has a greater amplitude than either of the first two individual waves by themselves.
-Waves and their amplitudes are adding up

- When the two waves have opposite-phases, they interfere destructively and the amplitude of the resultant wave is attenuated (lowered).
-Wave amplitudes take away from each other

Front 323

When two (or more) waves are in-phase (have amplitudes that are changing in direction) they interfere constructively, creating a resultant wave that has a greater amplitude than either of the first two individual waves by themselves.

Back 323

-Waves and their amplitudes are adding up

Front 324

Back 324

-Wave amplitudes take away from each other

When the two waves have opposite-phases, they interfere destructively and the amplitude of the resultant wave is attenuated (lowered).

Front 325

Explain

ANY complex period waveform…

Back 325

….is simply the linear summation of a series of sinusoids.

Lowest frequency is the “Base Freq” or Fo

Harmonics are:
Whole number multiples of the Fo



Lower frequency - base frequency = fundamental frequency
Little more frequency
Highest frequency
Resultant sound = combination of all three – complex waveform

Front 326

Back 326

Spectrum – how we’re viewing (this simple) complex signal

Front 327

Back 327

1 line – fundamental frequency

Front 328

Spectra Before LP filtering

Back 328

Spectra After LP filtering

Front 329

Bandpass filter: Draw

Back 329

Front 330

Illustrate broadly and narrowly tuned...

Back 330

Front 331

Draw a high pass filter

Back 331

Front 332

Back 332

Cut-off Frequency (ies) – discrete point on the curve where the intensity (amp) value of a range of frequencies has decreased by 3 dB from the value of the peak intensity.
3 dB down defines the boundaries of our bandwidth.
Cut-off frequencies are also know as 3 dB down points

Front 333

Describing the filtering process of a resonator mathematically requires the use of a Transfer Function

Back 333

Input: glottal spectra (sound from our VF’s)
A transfer function defines the relationship between the inputs into a system and the outputs produced by the system.
In other words, it describes the shape of the filter.

Front 334

First, Input is the sound source.
What happens next?

Back 334

NEXT:
A system’s transfer function changes the amplitudes of the input signals energies

Front 335

Application of transfer function:

Back 335

Transfer function will “trim away” everything on outside of it
lowering the amplitudes
lower frequencies will have the highest amplitudes
most amplified
could relate to female’s voice (amplifying 200 – 300 Hz)

Front 336

Application of Transfer Function

Back 336

(works like a cookie cutter on a large sheet of dough)

Front 337

What happens after this stage?

Back 337

5) Output Sound Waveform: Transform energy into something with very different features from your input

Front 338

Back 338

Reminder: We are still working with the idea of a simple transfer function. A filter and a resonator ARE described by a transfer function

Simple filtering properties and transfer functions
NEVER just apply one transfer function all the time
VT (vocal tract) constantly changes shape
MANY transfer functions being applied to input

Front 339

Back 339

We can model the VT as series of interlinked tubes, that can change their shape and volume dynamically

VT straightened out can be modeled as series….

each ridge represents a new tube

each one has a different resonant frequency

Front 340

VT model "ah"

Back 340

Front 341

Draw a spectrogram for /i/

"eeee" as in "beat" or "Easter"

Back 341

High front

Front 342

Draw a spectrogram for /I/

"iiii" as "pill" or "bill"

Back 342

Front 343

What is this formant?

Back 343

ae
front low

ahhh as in "bat"

Front 344

Draw a spectrogram for /E/
Front mid

"bet"

Back 344

Front 345

Back 345

All formants are evenly spaced
This is a spectrogram for "uh"
or schwa

Front 346

Back 346

"a" as in pot

This is a low back vowel

Front 347

Back 347

Dog
"awe"
awkward

back

Front 348

Draw a spectrogram for /u/

Back 348

high back

"ooo" was in food

Front 349

Draw a spectrogram for "U" or omega

Back 349

uuuu as in good

Front 350

au and ai dipthongs

Back 350

au - "cow"

ai- "find"

Front 351

A spectrogram is a 3 dimensional plot.

Back 351

The horizontal dimension (X axis) represents time.
The vertical dimension (Y axis) represents frequency.
The Z-axis is intensity represented by variations in darkness.

Front 352

Your “typical” spectrogram for /i/ and /u/

Back 352

Dark – z axis – intensity (formants)
(Eee vs. ooo)

Front 353

Back 353

“uh” – schwa

Connect the formants (the colored lines)
Flip them over to see through time

Add time, frequency, and intensity (on z-axis)

Just because fundamental frequency changes does not mean formants will change
formants/resonant frequencies are dependent on shape of vocal tract, not the energy being put into it (glottal spectra  base/fundamental frequency)
pitch change  change in fundamental frequency, but NOT formants
Just because formants change does not mean fundamental frequencies change

Shape change  formant change
Pitch change  fundamental frequency change

First formant at 500 Hz – resonant frequency

Front 354

Explain

Back 354

Just to look at

Front 355

Uh vs ee

Back 355

Front 356

Eeee vs ooo vocal tract and glottal spectrum

Back 356

Front 357

Summary of source filter theory

Picture

Back 357

Front 358

Back 358

formants

Front 359

Back 359

Spectrogram

Front 360

Back 360

Formant is not just one frequency.
All the freq’s that are in the passband make up the formant
Important features of a formant include:
Center frequency (aka, Formant Freq)
bandwidth
amplitude of the passband
3 dB down or cut-off
Formant name IS the center freq of pass-band, regardless of how broad the tuning is.


Spectra (spectragram shows time – this doesn not)
y axis  intensity; x axis  frequency
Identify formant as 500 Hz, although bandwidth = 100 Hz
Amp = 30 dB

Front 361

Numbering Formants

Back 361

F1, F2, F3
You are looking for distinct and seperate bands of grayscale

Occasionally, the Voice Bar is seen.
Represents F0
Very hard to pick out of the spectrogram

Formants wont be seen during voiceless
All vowels are voiced

Front 362

True or false:

The EGG reflects the contact area of the vocal folds.

Back 362

TRUE

Front 363

True or false:

If the frequency of a vibration is 10 cycles per second, the period of that vibration is half a second.

Back 363

FALSE

Front 364

What is the major difference between STOPS and VOWELS?

Back 364

Sound source for vowels is the nearly periodic vibration of the vocal folds. For STOPS the sound source is pressurized air forcefully exiting the oral cavity

Front 365

What are the acoustic features of STOPS?

Back 365

The SILENT GAP
The RELEASE BURST
FORMANT TRANSITIONS
and VOICE ONSET TIME

Front 366

SILENT GAP

Back 366

This is where the articulators are forming a blockage of are and building up pressure in the oral cavity

Front 367

What important thing happens in VOICED STOPS?

Back 367

In some voiced stops, a VOICE BAR, or a band of low frequency, is sometimes apparent.

This voice bar is an indication that vocal fold vibration is occurring during the articulatory closure and pressure build up.

Front 368

VOICE BAR

Back 368

Happens occasionally in VOICED STOPS

It is a band of low frequency on the spectrogram

An indication that vocal fold vibration is occurring during the articulatory closure and pressure build up.

Front 369

RELEASE BURST

Back 369

In stops, this is the second characteristic, and it follows the SILENT GAP.

A burst of APERIODIC sound follows the silent gap. On the Spectrogram, we see a vertical line extending into the high frequencies, representing a broad range of frequencies characteristic of aperiodic sound.

Lasts about 10- 30ms

Front 370

Voiced Stops produce recognizable patterns of ....

Back 370

FORMANT TRANSITIONS to the vowel


Seen in diphthongs and transition from voiced stop to a vowel

Front 371

The BURST is typically evident for stops in which position?

Back 371

.... word initial and medial position, but don’t always occur in word final position

Front 372

Bilabial Stops

Back 372

VOICELESS p and VOICED b

Whole space in front of mouth is the “filter” so they have the biggest filter, see the spike but low frequency emphasis

Front 373

Alveolar STOPS-

Back 373

t and d

In front have a TINY little filter

High frequency

Front 374

Velar STOPS-

Back 374

(k and g)
medium frequency emphasis
(again think about shape of filter)

Front 375

The burst (release) of the stop consonant may signal information about _____________ for voiceless stops

Back 375

The place of articulation

Front 376

Size of filter in Stop Bursts indicates what?

Back 376

Smallest will pass highest frequency
Biggest will pass lowest frequency

Front 377

If the filter is SMALLER, which kind of frequencies will it pass?

Back 377

HIGHER

Front 378

If the filter is LARGER, which kind of frequencies will it pass?

Back 378

LOWEST

Front 379

Voiceless stops have a greater degree of _________ than voiced stops

Back 379

ASPIRATION

Front 380

ASPIRATION

Back 380

NOISE GENERATED BY TURBULENT AIRFLOW

Aspiration noise is generated at the larynx as the vocal folds move from abducted to adducted

Front 381

Seen as a visible bend in the formant pattern (dog-tail) during a voiced stop to vowel transition...

Back 381

During the movement from closure for the voiced stop to the open vocal tract posture of the following vowel (or vice versa).

Formant can be rising, falling, or relatively flat patterns.

Front 382

Formant transition patterns in STOPS depend on....

Back 382

Place of articulation for the voiced stop

Shape of the vocal tract of the adjacent vowel

Front 383

Summarizing Formant Transitions

Bilabial Stops: /b/

Back 383

F1 increases from nearly zero to the F1 frequency value of the vowel.

F2 increases from ~800 Hz to the F2 of the vowel.

Front 384

Summarizing Formant Transitions

Alveolar Stops: /d/

Back 384

F1 increases from nearly zero to the F1 frequency value of the vowel.

F2 starts at ~1800 Hz and raises or lowers to match the F2 of the vowel.

Front 385

Summarizing Formant Transitions

Velar Stops: /g/

Back 385

F1 increases from nearly zero to the F1 frequency value of the vowel.

F2 & F3 start close together (~1300-2300 Hz.) but separate during the transition.

Front 386

Voice Onset Time

Back 386

Just voiced stops

Voice Onset Time is used to distinguish voiced vs. unvoiced contrast

VOT: refers to the time between the begining of the stop burst and the onset of vocal fold vibration for the following vowel

Front 387

VOT values:

Back 387

Prevoicing (negative VOT):
- Voice onset precedes the burst release
Simultaneous voicing:
- Voice onset is simultaneous with the burst
Short Lag:
- Voice onset slightly follows the burst release (puppy, period of time before my voice comes on)

Front 388

Prevoicing

Back 388

(negative VOT):
- Voice onset precedes the burst release

Front 389

Simultaneous voicing:

Back 389

- Voice onset is simultaneous with the burst

Front 390

Short Lag:

Back 390

- Voice onset slightly follows the burst release (puppy, period of time before my voice comes on)

Front 391

Length of VOT lag:

Back 391

Short VOT lag
- Indicates voiced stops (0-30 msec)- just producing this in isolation, different in running speech

Long VOT lag:
- Indicates (aspirated) voiceless stops (> (greater) than 30 msec)

Front 392

Short VOT lag

Back 392

- Indicates voiced stops (0-30 msec)- just producing this in isolation, different in running speech

Front 393

Long VOT lag:

Back 393

- Indicates (aspirated) voiceless stops (> (greater) than 30 msec)

Front 394

Stops – Summary

Back 394

Acoustic cue signaling VOICING:
- Voice Onset Time (VOT)

Acoustic cues signaling PLACE of articulation:
- Spectrum of Burst – voiceless stops
- Formant Transitions – voiced stops

Acoustic cues signaling MANNER of articulation:
- Silence (Stop Gap)
- Plosion,(Burst)
- Aspiration (for voiceless stops)
- Stereotypic rising F1 pattern for all voiced stops

Front 395

Acoustic cue signaling VOICING in STOPS:

Back 395

- Voice Onset Time (VOT)
(Vowels are longer before voiced stops, and shorter before voiceless stops)

Front 396

Acoustic cues signaling PLACE of articulation IN STOPS:

Back 396

- Spectrum of Burst – voiceless stops

- Formant Transitions – voiced stops

Front 397

Acoustic cues signaling MANNER of articulation IN STOPS:

Back 397

- Silence (Stop Gap)
- Plosion,(Burst)
- Aspiration (for voiceless stops)
- Stereotypic rising F1 pattern for all voiced stops

Front 398

Fricatives

Back 398

Turbulence develops from forced airflow through constriction, or narrow passage-way

Obstacles (teeth, lips) present in front of constriction and source
Typically increase the amplitude of the noise

Front 399

Sound source in Fricatives:

Back 399

Turbulent noise

Fricative energy is much longer duration than stops

Turbulent noise is inharmonic (aperiodic) and has a broad (flat) spectrum: equal energy at many frequencies

Talking about noise, more specifically white noise

Flat

Front 400

How does fricative energy compare in duration to stops?

Back 400

Fricative energy is much longer duration than stops

Front 401

Turbulent noise

Back 401

Turbulent noise is inharmonic (aperiodic) and has a broad (flat) spectrum: equal energy at many frequencies

Front 402

How do obstacles such as teeth and lips in front of the air passage and sound source affect the noise? (FRICATIVES)

Back 402

Obstacles (teeth, lips) present in front of constriction and source
Typically increase the amplitude of the noise

Front 403

How is noise filtered in fricatives?

Hint- In the same way as _________ are

Back 403

Noise is filtered by the resonant characteristics of the oral cavity in front of the constriction in the same way that the glottal source is filtered for vowel production by supraglottal areas.

Front 404

The place of articulation for fricatives depends on WHAT?

Back 404

Frequency range of noise depends on place of articulation
Freq range is an cue for place of articulation

Front 405

Summary of FRICATIVE VOICING

Back 405

Fricatives may be voiced or voiceless

Presence of voice bar is a dead give away

Front 406

In fricatives, noise is shaped by what?

Back 406

Noise is shaped by the area resonances of the cavity in front of the narrowing

Front 407

Name the fricatives... (9)

Back 407

Interdental / θ /, / ð/
Labiodentals / f/, / v/
Alveolar / s /, / z/
Palatal / ʃ /, / ʒ/
Glottal / h /

Front 408

Affricates

Back 408

Affricates – formed by combining the beginning of a stop and the release of a fricative

A sequence of a stop and a fricative

Palatal / tʃ /, / dʒ/…. “ch” and “j”

Front 409

Affricates place of articulation....

What kind of linguistic unit are they?

Back 409

Acting as a single linguistic unit (phoneme)

Produced at the same place of articulation

Front 410

Affricates Characteristics:
They have a __________ followed by __________.

Back 410

Affricates have a stop gap (silence) followed by intense frication.

Stop gap is very brief, so brief you may not even hear it.

Front 411

In affricates, how is turbulence generated?
What is the frequency range of noise?

Back 411

Turbulence is generated in similar way to fricatives

Frequency range of noise is the same as for a fricative

Whatever is highlighted at the “sh” is also highlighted at the “ch”

Front 412

In affricates,transition & voicing cues _______________

Back 412

Transition & voicing cues are similar to stops & fricatives

Front 413

Duration of friction in affricates compares to fricatives in what way?

Back 413

Duration of frication is shorter in affricates than in fricatives

Front 414

Glides-

Back 414

Formed when the tongue rapidly shifts from the position for a front vowel to the position for a back vowel and vice versa

Always voiced

Made with this changing tongue motion

Similar to vowels and diphthongs

Bilabial- /w/
Palatal - /j/ “y”

Front 415

Are glides voiced or voiceless?

Back 415

Always voiced

Similar to vowels and diphthongs

Front 416

Glides are dependent on....

Back 416

Dependent on coarticulation, placement in word, etc.

Front 417

Glides move from where to where?

Back 417

Gliding from place of articulation to another (front vowel position to back vowel position)

Front 418

Airflow production in GLIDES is....

Back 418

Airflow production is intermediate

It is between laminar and turbulent.

Laminar – layered, vowels travel smoothly through vocal tract

Turbulent – airflow hits obstructions, such as tongue

Slight turbulent component seen on spectrogram

Front 419

Laminar

Back 419

layered, vowels travel smoothly through vocal tract

Front 420

Turbulent

Back 420

airflow hits obstructions, such as tongue

Front 421

Do glides formant transitions?

Back 421

YES!
Glides (j w) have clearly visible formant transitions.

Formants will be moving, versus vowels

Front 422

Formant transitions in guides lack what?

Back 422

Formant transitions lack the steady state portion of the signal you’d see in the diphthongs.

Front 423

Glides have what kind duration?
How does it compare to diphthongs?

Back 423

Glides are of very short duration

Shorter than diphthongs

Look like really brief duration diphthongs

Front 424

Formant transition characteristics in glides

Back 424

Formant transitions lack the steady state portion of the signal you’d see in the diphthongs.

Glides are of very short duration

Shorter than diphthongs

Look like really brief duration diphthongs

Looks only like a formant transition b/w two other sounds

(Do not have steady state component)

Front 425

What is another name for glides?

Back 425

Also called semi vowels because of their properties

Front 426

Liquids

Back 426

Occur as the tongue forms a loose blockage with in the oral cavity and air flows around the sides of the tongue

Palatal- /r/
Alveolar - / l /

Front 427

Liquids differ from glides in what way?

Back 427

Different than glides because tongue is not really moving

/r/ does move, especially in other languages

Still more steady state than glides

Front 428

What is the most difficult manner of articulation to visualize on a spectrogram?

Back 428

Liquid

Front 429

How are liquids produced?
They are always:

Back 429

Liquids are always voiced.
Made without tongue motion, more steady state.

Front 430

/ l /: lateral resonance (“love” instead of “bull”)

Back 430

Tongue splits the oral cavity into two halves.

Air flowing on two sides of tongue

Front 431

/ r /: retroflex (“red”)

Back 431

Tongue tip pointing backward toward palate

Dependent upon which vowel in being produced

Front 432

Steady-state formant values for / l / (adult male values) are __________________________

Back 432

Steady-state formant values for / l / (adult male values) are stereotypical among different speakers

For adult males: But we do not need to know these numbers)

350 Hz for F1,
1300 Hz for F2,
2700 Hz for F3.

Front 433

Liquid / r / Steady-state formant values in (adult male values) are __________________________

Back 433

Liquid / r / has similar steady-state frequencies for F1 & F2…but F3 is much lower (at ~1600 Hz).

350 Hz for F1,
1300 Hz for F2

The formant frequencies begin at these values and then change to match the frequencies of the sound that follows. – moving from a liquid or glide to a vowel….(something)

Front 434

_____________are the most reliable auditory and visual cue for discrimination in liquids.

Back 434

Formant transitions are the most reliable auditory and visual cue for discrimination.

Front 435

There are three nasal phonemes in English. What are they?

Back 435

Bilabial /m/
Alveolar /n/
Velar /ŋ/

Front 436

Features of Nasals

Back 436

Nasals are always voiced.

Produced by lowering the velum (opening VP (velopharyngeal) port), thus adding the nasal cavity to the rest of the vocal tract – nasal cavity cannot change shape!
-Coupling of oral and nasal cavities has interesting results- creates antiformant

Produced by completely obstructing the oral cavity and lowering the velum
-Allows for the radiation of sound energy through the nasal cavity.

Resonance features of nasals are all very similar,
-b/c nasal region does not change shape. – at lips and velar area

Front 437

Nasals are always _________

Back 437

Nasals are always voiced.

Front 438

Nasals are produced by _____________

Back 438

Produced by lowering the velum (opening VP (velopharyngeal) port), thus adding the nasal cavity to the rest of the vocal tract – nasal cavity cannot change shape!

Produced by completely obstructing the oral cavity and lowering the velum

Coupling of oral and nasal cavities has interesting results- creates antiformant

Front 439

Coupling of oral and nasal cavities does what?

Back 439

Creates antiformant
Feature of nasal

Front 440

Nasals allows for what to pass through the nasal cavity?

Back 440

Allows for the radiation of sound energy through the nasal cavity.

Front 441

Nasals resonance features are __________.

Back 441

Resonance features of nasals are all very similar, because the nasal region does not change shape.

– formed at lips and velar area

Front 442

Source-Filter: Antiformants

Back 442

If we think of “formants” as a Band-Pass shaped transfer function.

Antiformants are considered Band-Reject transfer functions.

Antiformants attenuate

Decrease amplitude of frequency components of the source spectrum.

Front 443

Coupling the nasal region to the rest of the vocal tract has the effect of ___________.

Back 443

producing Antiformants
(or anti-resonances)

Because of mucus, hair cells, actual tissues (which are very sound absorbent)

Dampens frequency out instead of amplifying it

Front 444

Antiformants are considered _________ functions.

What do they do to the amplitude of frequency components of the source spectrum?

Back 444

Band-Reject transfer functions

Antiformants attenuate

They decrease amplitude of frequency components of the source spectrum.

Front 445

Nasals anti-resonances

Back 445

Nasals in general are weak intensity due to sound absorption of the nasal area and the greater length the energy must travel (after adding nasal cavity)

Front 446

Antiformants are seen as very weak areas arise because:

Back 446

Sound absorption quality of inner nasal regional

Sound energy is heavily damped.

Winding nature of area around the turbinates

Frequencies in the bandwidth are attenuated…while frequencies outside of BW are amplified.

Front 447

Nasals have one strong _______

Why does this happen?

Back 447

Nasals have one strong formant below 500 Hz
- Nasal formant (or nasal murmur)

Why does this happen?
- (extremely SLIGHT differences happen to separate)


Opening the pharyngeal cavity to the nasal cavity opens another branch (other than oral cavity) WHICH increases size of pharyngeal cavity, which would then highlight lower frequencies

Slight differences between nasal formants helps to distinguish between three nasal phonemes.

Front 448

Opening the pharyngeal cavity to the nasal cavity opens another branch (other than oral cavity) WHICH DOES WHAT TO THE pharyngeal cavity? This it would then highlight __________ frequencies.

Back 448

Opening the pharyngeal cavity to the nasal cavity opens another branch (other than oral cavity) which increases size of pharyngeal cavity, which would then highlight lower frequencies

Front 449

Slight differences between nasal formants helps to distinguish between

Back 449

three nasal phonemes

Front 450

Suprasegmental effects
Three primary features:

Back 450

Intonation:

Stress:

Duration:

Front 451

Intonation:

Back 451

Suprasegmental effects

Intonation:
“today is the last day of classes???”
Rapid variations in Fo
Signify type of utterance: Declarative, question, etc

Front 452

Stress:

Back 452

Suprasegmental effects

Stress:
“Today IS the last day of classes”
Vary the intensity, frequency, and durations of a syllable.

Front 453

Duration:

Back 453

Suprasegmental effects
Duration:
“Today is the laaaaaaaaasssssst day of classes!”
Prolonging or shortening the duration of a sound

Front 454

Coarticulation Effects
Wrong to assume that each sound is produced

Back 454

in isolation and then strung together to form a word (like bricks in a row)

Front 455

Coarticulation Effects
Due to the highly sequential and rapid nature of speech,

Back 455

...overlap in gesture performance is extensive (more like roofing tiles)

For example, saying the word “chat”, you do not finish the “ch” completely, then move on to the /ae/, followed lastly by the /t/

Rather, the tongue tip is touching the alveolar ridge for “ch”, while at the same time your tongue is moving downward for the vowel

Before you even finish the vowel, the tongue is already on the move forward and upward for the /t/

Front 456

What do you think are the consequences of the Coarticulation effect are on what we hear?

Back 456

The features of one sound influence the features of the next, or the one in front of it too
Acoustics of one sound becomes blended into the acoustics of the previous sound and the one coming up in time
Simply put, articulator movements overlap each other in time
Coarticulation refers to how tow or more articulators move at virtually the same time to produce two of more phoneme gestures
Makes the whole issue of reading a spectrogram more complicated
Makes the whole issue of understanding the acoustic features of sounds more complex
We now have to take into account the phonetic (or sound) context in which every other sound exists in order to understand our ability to discriminate the phonemes of our language
Major factor in the limitation of computers to recognize speech
Brings up critical issues in terms of how infants even learn to recognize and produce individual words during speech-language development

Front 457

Coarticulation makes the whole issue of understanding the acoustic features of sounds more complex

Back 457

We now have to take into account the phonetic (or sound) context in which every other sound exists in order to understand our ability to discriminate the phonemes of our language

Major factor in the limitation of computers to recognize speech

Brings up critical issues in terms of how infants even learn to recognize and produce individual words during speech-language development

Front 458

Coarticulation

Back 458

The features of one sound influence the features of the next, or the one in front of it too

Acoustics of one sound becomes blended into the acoustics of the previous sound and the one coming up in time

Front 459

Articulator movements do what in coarticulation?

Back 459

Simply put, articulator movements overlap each other in time

Front 460

Coarticulation refers to how ______________ to produce two or more phoneme gestures

Back 460

... two or more articulators move at virtually the same time to produce two or more phoneme gestures

Front 461

How does coarticulation effect reading a spectrogram?

Back 461

Makes the whole issue of reading a spectrogram more complicated

Front 462

Coarticulation brings up critical issues in terms of _______________

Back 462

how infants even learn to recognize and produce individual words during speech-language development