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The Acoustic Cues - Speech and Hearing Sciences - Review Sheet | COMD 330, Exams of Communication

Material Type: Exam; Professor: Tomenko; Class: Speech & Hearing Sciences; Subject: Communication Disorder; University: Saint Mary's College;

Typology: Exams

2011/2012

Uploaded on 04/13/2012

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Only one lease of life is granted
us; and the inquiry with every one
should be, "How can I invest my
powers so that they may yield the
greatest profit? How can I do most
for the glory of God and the
benefit of my fellow-men?" For life
is valuable only as it is used for
the attainment of these ends.
EGW
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pf4
pf5
pf8
pf9
pfa

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Only one lease of life is granted

us; and the inquiry with every one

should be, "How can I invest my

powers so that they may yield the

greatest profit? How can I do most

for the glory of God and the

benefit of my fellow-men?" For life

is valuable only as it is used for

the attainment of these ends.

EGW

Chapter 10

The Acoustic Cues

Acoustic Cues in Speech Perception

  • (^) Sounds are strung together in speech, creating a complex and ever-changing acoustic signal.
  • (^) Are some features of this acoustic signal more important than others for us to perceive/hear the different “letters” in words?

Classes of Speech Distinctions

  • (^) Vowels and diphthongs
  • (^) Semi-vowels- liquids and glides
  • (^) Nasal consonants
  • (^) Stop consonants
  • (^) Fricative consonants
  • (^) Affricate consonants- non-resonant
  • (^) Suprasegmental/prosodic features
    • (^) Intonation
    • (^) Stress
    • (^) Duration
    • (^) Juncture

Diphthongs

  • (^) Phonated, high-intensity sounds comprising two

vowels occurring within a single syllable.

  • (^) Identification based on:
    • (^) Rapidly changing formant frequencies:

 (sufficient cue to perceive a diphthong).

Direction and extent of formant frequency change.Rate of formant frequency change. (an internal change)

  • (^) (This was found to be more important than the ‘absolute’

values of the formant frequencies).

Semi-Vowels

  • (^) Acoustic cues: manner:
    • (^) Rapidly changing formant frequencies, (more rapid than for diphthongs), during the semi-vowel articulation.
    • (^) These formant transitions are internal.
  • Acoustic cues: place:
    • (^) / w / versus / j / (glides)
      • (^) Direction of changes in F2 frequency, (both have low F1).
      • (^) Changes in F2 are context dependent (look on the transition based on the context)
    • /r/ versus /l/ (liquids)
      • (^) Frequency characteristics of F2, F3, (/r/ lower F3 than /l/). (specifically look at F3 in order to determine the differences)
      • Context-dependent changes in F3: falling and/or rising for /r/; level for /l/

Stops: Manner Cues

  • (^) Acoustic cues to stop manner of articulation:
    • (^) Presence of a silent (or nearly silent) closure

interval.

  • (^) Affricates will also have this
  • (^) Presence of a transient (quick) release burst.
  • (^) Rapid rise (initial position)/fall (final position)

time.

  • (^) Rising (initial position)/falling (final position) F1.

Stops: Place Cues

  • (^) Acoustic cues for stops: place of articulation: - (^) Context-dependent patterns of F transitions (determined by the acoustic locus for place). - (^) Unique for each context of the sound - (^) Frequency of most intense portion of release burst. - (^) F3 transitions