![]() Find a library where document is available.The results suggest that in many applied situations the perception of the segmental information on the speech signal may be more crucial to the intelligibility of synthesized speech than are suprasegmental factors. The results indicate that the identification of words in fluent synthetic speech is influenced by speaking rate, meaning, length, and, to a lesser degree, pitch contour. Half of the text sentences were generated with a flat pitch (monotone) and half were generated with normally inflected clausal intonation. In both experiments a text-to-speech system generated synthetic speech at either 150 or 250 words/min. In Experiment 2, subjects transcribed sentences that varied in length and syntactic structure. In Experiment 1, subjects transcribed sentences that were either syntactically correct and meaningful or syntactically correct but semantically anomalous. Two experiments were conducted to examine the effects of pitch contour and speech rate on the perception of synthetic speech. The increased use of voice-response systems has resulted in a greater need for systematic evaluation of the role of segmental and suprasegmental factors in determining the intelligibility of synthesized speech. A research article containing images illustrating many specific examples of pitch contours for recited poetry.EFFECTS OF SPEECH RATE AND PITCH CONTOUR ON THE PERCEPTION OF SYNTHETIC SPEECH Phonetic Cues and Dramatic Function Artistic Recitation of Metered Speech. Contains review of these and earlier articles. Elizabeth West Marvin, "A Generalization of Contour Theory to Diverse Musical Spaces: Analytical Applications to the Music of Dallapiccola and Stockhausen" in Musical Pluralism: Aspects of Aesthetics and Structure Since 1945 (forthcoming).Charles Seeger, "On the Moods of a Music-Logic." Journal of the American Musicology Society 8 (1960): 224-61.Adams, "Melodic Contour Typology," Ethnomusicology 20 (1976): 179- 215. Altering the pitch contour may have the consequence of changing the lexical meaning of a word, and perhaps the. Mieczyslaw Kolinski, "The Structure of Melodic Movement: A New Method of Analysis," Studies in Ethnomusicology 2 (1965): 96-120."Possible and Impossible Melody: Some Formal Aspects of Contour", Journal of Music Theory, Vol. Larry Polansky Richard Bassein (1992).Polansky, "Morphological Metrics: An Introduction to a Theory of Formal Distances" in Proceedings of the International Computer Music Conference (San Francisco: Computer Music Association, 1987). In feature extraction, we adopt several parameters that are based on pitch and energy. ![]() Morris, Composition with Pitch-Classes: A Theory of Compositional Design (New Haven and London: Yale University Press, 1987).Friedmann, "A Methodology for the Discussion of Contour: Its Application to Schoenberg's Music," Journal of Music Theory 29 (1985): 223-48.Sonic Design: The Nature of Sound and Music. When a person speaks a sentence involving multiple e sounds, the peaks will shift within these ranges, and the movement of the peaks between two instances establishes the difference in their values on the pitch contour. Nevertheless, by establishing a fixed reference point in the frequency function of a complex sound, and then observing the movement of this reference point as the function translates, one can generate a meaningful pitch contour consistent with human experience.įor example, the vowel e has two primary formants, one peaking between 400 and 600 Hz and one between 22 Hz. Pure tones have a clear pitch, but complex sounds such as speech and music typically have intense peaks at many different frequencies. The same contour can be transposed without losing its essential relative qualities, such as sudden changes in pitch or a pitch that rises or falls over time. In music, the pitch contour focuses on the relative change in pitch over time of a primary sequence of played notes. Unnatural pitch contours result in synthesis that sounds "lifeless" or "emotionless" to human listeners, a feature that has become a stereotype of speech synthesis in popular culture. One of the primary challenges in speech synthesis technology, particularly for Western languages, is to create a natural-sounding pitch contour for the utterance as a whole. It also indicates intonation in pitch accent languages. It is fundamental to the linguistic concept of tone, where the pitch or change in pitch of a speech unit over time affects the semantic meaning of a sound. Pitch contour may include multiple sounds utilizing many pitches, and can relate to frequency function at one point in time to the frequency function at a later point. In linguistics, speech synthesis, and music, the pitch contour of a sound is a function or curve that tracks the perceived pitch of the sound over time. Lua error in a at line 80: module 'strict' not found.
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