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Speech Science Exam3
Speech Science - The other half of Exam 3
| Question | Answer |
|---|---|
| The period of voicelessness after stop release is called: | aspiration |
| Aspiration is one way to make distinctions between stops with regard to | voiced or voiceless distinctions |
| Aspiration is seen in 3 English voiceless stops: | /p/ /t/ /k/ |
| The glottis is (open/closed) at the moment of stop release? | Open |
| When the glottis is open at the moment of stop release: | the breath stream is allowed to flow freely into the upper vocal tract without phonation |
| The voiced stops are: | /b/ /d/ /g/ |
| For a voiced stop, the glottis is (open/closed) | closed |
| At the moment of stop release for a voiced stop, the glottis is closed at the moment of stop release which forces the breath stream to: | set the vocal folds in motion, sending vibrating air (phonations) into the vocal tract. |
| When the folds are partially adducted, they are also partially: | abducted. |
| Partially adducted = | Partically abducted. |
| What do you call a stop with a fricative release? | An affricate |
| Give two examples of an aveolar closure phoneme: | /t/ and /d/ |
| Africates have a silent gap both with and without | phonation |
| What kind of phoneme has a release burst as seen in stops, with extended duration of aperiodic frication noise as seen with fricatives? | Affricates |
| With an affricate, the release burst occurs through | a narrow constriction |
| When you do a release burst with your lips open there is no | constriction |
| When you produce /f/, what is happening? | You are producing air through a narriow space that has a constriction |
| When you have closure and release and a constriction, you have | an affricate |
| Name two affricates? | /ch/ and /dg/ |
| With affricates, you have an extended duration of | aperiodic noise |
| Accoustic features of affricates include: | a stop with a fricative release an aveolar closure with a closure release and a tongue retraction a silent gap with and without phonation a release burst with extended duration |
| With Fricatives, aperiodic noise is created where? | In the vocal tract. |
| Phonated or unphonated breath stream is sent through constrictions in the vocal tract and met with constrictions by two closely approximating articulators in which phonemes? | Fricatives. |
| A combination of strong airflow and narrow constriction make the airflow turbulent and create | frication |
| noisy random vibrations | frication |
| Constriction sites (4) | labiodental, linguadental, alveolar, and postalveolar (palatal) |
| Open glottis means airstream is only audible at the point of | constriction |
| Closed glottis gives how many points of sound? | 2 |
| What are the two points of sound with a closed glottis? | periodic sound of phonation and aperiodic sound of airstream passing through constriction |
| All frequencies in spectrum randomly put together = | random white noise |
| Air stream is sent through closely approximated articulators that create a point of constriction = | fricatives |
| If the articulators are in contact with one another, the phoneme is a | stop |
| Voiceless sound = (open/closed)glottis | open glottis |
| One source of sound = | open glottis |
| Closed glottis = | 2 sources of sound |
| Closed glottis means vocal folds are adducted, no space, air meets adducted folds and sets folds into | vibration |
| The air that comes into the vocal folds and meets adducted folds and then meets a point of constriction equals how many sources of sound? | two two acoustic cues. |
| To determine the difference between /s/ and /z/, the brain uses how many acoustic cues? | 2 |
| Fricatives can be voiced or voiceless | /s/ /z/ /s/ is voiceless /z/ is voiced s has one acoustic cue z has two acoustic cues |
| Fricatives are continuants. This means that their sound is | prolonged |
| Fricative noise originates at the | articulatory constriction |
| Fricative energy is very low for /f/ /v/ and voiced and voiceless /th/ because | there is a lack of resonanting cavity anterior to the point of constriction |
| For /s/ and /z/ there is a high frequency, high energy noise | most of the energy in /s/ is above 4000 Hz |
| For /sh/ the point of articulation is further back in the | mouth |
| Longer resonating cavity anterior to constriction = | lower overall frequencies |
| Lip rounding and protrusion in production causes a longer oral cavity and | lower frequencies |
| Energy in /s/ is (higher/lower) than /sh/? | Energy in /s/ is higher than /sh/. |
| If you have a hearing loss, you lose your ability to hear these phonemes: | fricatives |
| Nonresonant consonants are | stops, fricatives and affricates |
| Semivowels: | /y/ and /w/ |
| Nasals: | /n/ /m/ /ng/ |
| Semivowels and nasals are resonants because: | they have a relatively free airflow and thus formant structure |
| Nonresonants have little or no | formant structure |
| What are created by articulators forming constrictions in the vocal tract and aperiodic noise is created as the airflow passes through? | Nonresonants |
| Nonresonants lack | formant structure and openness that resonants have. |
| Audible noise is present in | nonresonants |
| Consonants can be resonants or nonresonants (true/false) | True |
| Which consonants are resonants? | nasals and semivowels |
| Which consonants are nonresonants? | stops, fricatives and affricates |
| What is the difference acoustically with /f/ and /v/? | There is phonation present in the production of /v/ and not during the production of /f/ |
| Speech sounds are produced one at a time, independently of one another in running speech (true/false) | False speech sounds are NOT produced one at a time independently of one another. |
| Speech sounds are produced in context and are altered by neighboring sounds (true/false) | True |
| What are two context effects that alter speech sounds? | Assimilation and Coarticulation |
| How are assimilation and coarticulation differentiated (2 things) | number of articulators involved in each effect number of speech sounds involved in each effect |
| What is assimilation? | alteration in the movement of a SINGLE ARTICULATOR |
| When a speaker 'takes a shortcut' and does not hit every articulatory position, sometimes one sound is produced in another, SIMILAR LOCATION, to make articulation more efficient. This is known as | Assimilation |
| List the two types of assimilation: | Partial and Complete |
| Partial Assimilation: | No phonemic change occurs in the sound; only a phonetic change (eat the cake) /t/ is produced linguadentally instead of alveolarly due to the following /th/ |
| Eat the cake is an example of | assimilation |
| Eat the cake is which type of assimilation? | Partial assimilation |
| Why is eat the cake an example of partial assimilation? | because the new /t/ is an allophone of the original phoneme (diff but still same phoneme) |
| Partial assimilation has changes that are (phonetic/phonemic) | phonetic |
| What is an allophone? | An allophone is a variation on the original phoneme, but a slightly different version of the same phoneme (eat the cake) |
| With regard to phonetic versus phonemic changes, phonemic change means it changes | letter. |
| Complete assimilation = change from an allophone of one phoneme to an allophone of another phoneme (ten cards) | /n/ to /ng/ = changes 'letter' |
| Think bank, anger are examples of | Complete assimilations |
| When a sound is changed from /n/ to /ng/ it is a | complete assimilation and a PHONEMIC CHANGE |
| List 3 other types of assimilations: | Anticipatory (right to left) Assimilation Carry over (or left to right) Assimilation Assimilation of Manner of Production |
| What is anticipatory assimilation? | When a sound is influenced by a following sound. |
| What is carry-over assimilation? | When a sound is influenced by a preceeding sound. |
| Give an example of a carry-over assimilation: | cats (a voiceless sound following a voiceless sound remains voiceless.) dogs (a voiceless sound preceeded by a voiced sound becomes VOICED.) |
| Give an example of a manner of production assimilation: | educate (articulators are placed in a different location, resulting in a different manner of sound. |
| When you have a voiceless following a voiceless everything stays the | same |
| When there are two articulators moving at the same time for different phonemes you have | coarticulation |
| Give an example of coarticulation: | two |
| Why is 'two' an example of coarticulation? | When you say 'two' the tongue is reaching alveolar ridge for /t/ at the same time the lips are rounding for /u/ |
| Coarticulation is when there is no | tongue lag; two articulators are moving at the same time for different phonemes. |
| Assimilation is: | sequential |
| Coarticulation is: | simulataneous |
| Prosody | stress, intonation, rhythm, duration, pitch |
| Prosody = | Suprasegmentals (prosody and suprasegmentals are the same thing.) |
| Prosodic features of speech tend to occur | simulataneously with 2 or more segmental phonemes |
| Prosodic features are overlaid on | syllables, words, phrases, sentences |
| Coarticulation of vowels and consonants binds sounds together into | syllables |
| The syllable is the unit of | stress |
| Stress serves as a 'pointer' telling the listener which information is most | important |
| Primary stress | highest level of stress usually on second syllable in a word |
| Lexical stress is the pattern of stress within words; helps determine the number of | syllables in a word |
| Which type of stress is used to differentiate nouns from verbs when the word isn't changed? | Lexical stress (perMIT versus PERmit) |
| Contrastive Stress is used to differentiate between two words that differ by only a syllable | I told you to REceive the guests, not DEceive them or This is my RED bike. This is MY red bike. |
| List three kinds of Stress that are used to give words meaning: | Primary Stress Lexical Stress Contrastive Stress |
| Acoustic characteristics of the stressed syllable: | Higher F0 for the heavily stressed syllable Greater duration of the stressed syllable Greater intensity for the heavily stressed syllable |
| Higher F0 for the heavily stressed syllable: | a function of increased vocal fold tension, increased expiratory effort leads to increased subglottal pressure and then to extra effort in the larynx. |
| Greater duration of the stressed syllable: | a function of more muscular effort being expended in the articulatory system and an increase in the amount of time spent articulating highly stressed syllable allows the articulators to hit target positions for the vowels in the syllables = clear formants |
| Greater intensity for the heavily stressed syllable: | The increased vocal fold tension that yields the higher F0 value also leads to greater excursion of the vocal folds from rest causing greater amplitude of the stressed syllable. |
| Longer duration of a syllable: | articulators spend more time in their positions which make clearly formed formant values and longer syllable means articulators hang out in their positions longer. |
| Greater F0 and greater intensity on a syllable = | greater pitch, more high pitched, louder, longer stressed syllable |
| Three acoustic cues of a stressed syllable: | greater fundamental frequency, greater duration, greater intensity |
| Intonation Pattern = | Pitch Pattern |
| Intonation Pattern, or Pitch Pattern, is the contour of a sentence, = | change in F0 |
| Intonation Pattern or Pitch Pattern (F0) expresses differences in ATTITUDE | That is a PRETTY flower. THAT is a pretty flower. That IS a pretty flower. |
| Use of rising intonation, (change in intonation pattern or pitch pattern)can also | change a sentence into a question. Today is Tuesday? Today is TUESDAY? |
| Intonation patterns, or perceived F0 changes, can be seen in | phrases, words or sentences |
| Rise-fall Intonation curve means that the pitch rises during the first part of the utterance and falls at the end: | Declarative sentences. |
| Pitch-rise at the end of a sentence = | a yes/no question |
| Intonation Patterns of Pitch Patterns can be used to indicate conversational breaks | when used with an incomplete utterance, Let me SEE... the conversational partner is less likely to interrupt than if pitch fell at the end. |
| INTONATION = | PITCH |
| How pitch changes over an utterance = | contour |
| Rising Intonation = | increased vocal fold tension that makes the fold vibrate faster (a result of increased cricothyroid muscle activity) |
| Falling Intonation = | results from decreased cricothyroid activity or from decreased subglottal pressure at the end of the breath |
| End of a declarative sentence means a decrease in both: | F0 and intensity |
| Heavy sigh: | pitch falls as lung volume decreases |
| Falling Intonation is seen as a natural product of | running speech |
| Rising Intonation can override the natural inclination toward falling pitch to | express excitement, ask a question, etc. |
| How do you change the pitch of the voice? | Changes in mass, length and tension via the cricothyroid (the pitch changer) |
| Duration of speech sounds; speech sounds vary in | duration |
| Dipthongs and tense vowels are intrinsically: | long |
| Lax vowels are intrinsically: | short |
| Lax vowels are those vowels that have a lax | jaw position |
| Continuant consonants are longer than stops including the duration of stop closure: | /s/ goes longer than /p/ |
| Short duration is another acoustic cue in determining | phonemes |
| Continuant consonants: | Fricatives, nasals, semivowels) |
| Continuate consonants are longer than | stops |
| Vowels are longer when they occur before | voiced consonants (leave versus leaf) |
| Vowels are longer when they are before | continuants instead of stops (leave versus leap) |
| Sounds in English are more susceptible to changes in duration than | sounds in other languages |
| What is a servomechanism? | a self-regulation machine |
| Device output is fed back | into the system |
| 4 kinds of information are available for a speaker for feedback: | auditory tactile proprioceptive central neutral |
| 2 types of feedback systems | Open Loop Closed Loop |
| Open Loop | No feedback needed; output is preprogrammed |
| Closed Loop | performance of system is fed back in for check |
| Hearing one's own speech is conducted in 2 ways: | air and bone conducted (the diff btw the two is the path sound takes) |
| Delayed Auditory Feedback is useful | listening to own recorded speech under a slight time delay can help those who are disfluent become fluent (stutterers) |
| Air Conducted Signal | vibrating molecules go into ear (outer/middle/inner) = air conduction |
| Most sounds are heard through | air conduction |
| Bones of skull also vibrate: | signal goes directly to cochlea outer and middle ear are both bipassed |
| MAIN feedback mechanism is AUDITORY | If you hear the sound /g/ but the lips aren't in the /g/ position, you will still say you heard the sound /g/ |
| Correcting one own's speech is a self-regulated mechanism | slight delay can help stutterers; when you are speaking, you hear your own voice with no delay. |
| What is tactile feedback? | Tactile feedback is information received from touch and stimulation of touch receptors |
| Tactile Feedback occurs in speech via | the articulators making contact with one another air pressure changes in the glottis air pressure changes in subglottal regions |
| The lips, alveolar ridge and especially tongue are receptive to tactile feedback as they have a large amount of: | touch receptors |
| Tongue tip (and superior tongue)is very sensitive in very small square units 1 - 2 mm apart: | back and sides of tongue less sensitive (sensitivity blocks are 1 cm apart) |
| Alveolar ridge is more sensitive than | the posterior part of palate |
| The most important and sensitive articulator | the tongue; very sensitive to touch |
| Tongue tip is most sensitive as is the | alveolar ridge and superior tongue |
| Proprioceptive Feedback | direct feedback from the muscles |
| What kind of feedback do the muscles give in proprioceptive feedback? | velocity direction of movement position of articulators and other speech organs |
| If you interfere with articulator positions (ie: bite blocks) speakers will | compensate immediately and speech can continue normally |
| What are two external feedback systems: | audition and taction |
| Audition and taction external feedback are delivered to: | external receptors |
| Internal feedback: | information within the brain about motor commands before the motor response |
| Internal Feedback | information loop is entirely within the brain CNS |
| An adult who loses their hearing in adulthood does not lose their ability to speak because | feedback plays a very minimal raole once a person has developed speech |
| If a person cannot hear themself speak because of a hearing loss, they may | talk loudly, whisper to overcompensate, have some consonants become nasalized, be unable to hear high frequency sounds, and speech may take on some characteristics of deaf-speech |
| With kids, feedback is important - if no feedback mechanism, speech is impacted | Kids are still learning how to talk; they try out a word, senses articulatory movements and positions, gets tactile and acoustic results, and compares the output of the word with the stored sound pattern of the adult production |
| Feedback is more or less important in | differing age groups |
| Models of speech production: | a strong linguistic basis and emphasis the goal of speech production is to attain one or more targets a focus on the role of timing in speech a focus on the role of feedback in speech |
| IPA | International Phonetic Alphabet |
| Distinctive Feature Analysis | analyzing someone's speech and determining therapeutic approach to resolve errors |
| Manners of speech production: | stops, fricatives, affricates, etc. |
| Is there any one set of distinctive features? | No |
| 1967 Liberman, New Haven, CT | When you produce sounds, you produce certain acoustics |
| Perception has a link with | Production |
| Target Models: | speakers attempt to hit a series of targets targets correspond to the sounds trying to produce spatial target relates to motor equivalence (bite blocks) Acoustic-auditory targets: variations in sound if close approximations do not influence perception |
| Speech sounds are recognizable within a range | in running speech, we don't hit all articulatory targets perfectly but speech is still recognizable |
| We assign meaning to what we hear | by perceiving whole sound signal (phoneme, syllable, word, etc.) rather than each sound individually |
| When your ears detect the sound, that is | reception |
| When your brain understands the sound, that is | Perception |
| Segmentals | vowels and consonants |
| Suprasegmentals | prosody |
| 3 basic issues addressed in speech-perception | acoustic-phonetic invariance Linearity Segmentation |
| Acoustic-phonetic invariance: | a distinct set of acoustic features correspond to each phoneme each time a certain phoneme is produced, the same acoustic feature are identifiable regardless of context. |
| Linearity | in a word, a specific sound corresponds to each phoneme, units of sound that correspond to phonemes are discrete and ordered in a particular sequence |
| Segmentation: | a speech signal can be divided and recombined into independent units that correspond to specific phonemes. |
| Each phoneme has its own | map |
| There is a 1:1 connection between acoustic and | phonemic properties |
| The 1:1 connection between acoustic and phonemic properties in sounds in words allow for | speech perception, but some research proves opposite |
| Brain picks out as little info as necessary to get the information correct because | there is a great amount of sound production variability between and within speakers. |
| We perceive ever changing vowels by recognizing the F1:F2 ration as well as | F0 and formants of preceeding sounds context of ongoing speech |
| Brain needs to hear the F1 and F2; for /i/ and /u/ the brain needs the 2nd value. | Brain needs to have F1 and F2 value, especially for /i/ and /u/ |
| Vowels are low in frequency and high in | energy |
| Vowels are easier to hear for those with | hearing loss |
| Which is harder for people with hearing loss to perceive, consonants or vowels? | Consonants |
| Accurate consonant perception is more difficult because | articulators move more rapidly there are more consonants than vowels consonants have more complex acoustic cues |
| How can consonants be perceived? | Categorical Perception: each sound has a distinct set of features use of voice onset time and frequency of F1 at onset to determine if voiced or voiceless |
| 3 Categories of Speech Perception Theories: | Active versus Passive Bottom-Up versus Top-Down Autonomous versus Interactive |
| Active category of speech perception | link btw production and perception (knowing how a sound is produced helps you recognize it) Speech sounds are sensed, analyzed for phonetic properties by recognizing how such sounds are produced |
| Passive category of speech perception | stress sensory aspects of speech perception; less stress on speech production |
| Perception of consonants is crucial for | understanding |
| Need to perceive consonants in order to perceive speech and communicate; | consonants give speech meaning; vowels give speech energy. |
| English = | simultaneous and short lag |
| Bottom-up Category | data driven, all info needed to recognize is in the acoustic signal itself |
| Top-down Category | need higher level linguistic and cognitive processes to ID sounds; simple analysis of the acoustic signal is insufficient to make perceptual judgements |
| Top-down Category you need to use | everything you have: world knowledge, environmental cues, linguistic knowledge, acoustic cues, etc. |
| Autonomous Category | signal is processed in series from phonetic to lexical to syntax to semantics, etc. Closed autonomous system / compartmentalized |
| Interactive Category | use info and knowledge from various sources at any and all stages of processing - use all info at whatever time frame, use everything you have to figure it out and doesn't need to be linear. |
| Eight Theories of Speech Perception | Motor Theory Acoustic Invariance Theory Direct Realism TRACE Model Logogen Theory Cohort Theory Fuzzy Logic Model Native Language Magnet Theory |
| The 8 are the actual THEORIES the others are categories... | theories versus categories; there are 8 theories. |
| MOTOR THEORY | BECAUSE YOU PRODUCE IT, YOU CAN PERCEIVE IT |
| Motor theory | speech decoder for speech versus non-speech signals |
| Infants have the ability to discriminate sounds in nearly every world language and are capable of performing many of the basic processes involved in speech production (true/false) | true |
| Motor Theory = | Active Category |
| Acoustic Invariance Theory | Bottom Up Category; each phoneme has distinct set of acoustic cues and they help decide phonemic identify; each phoneme has its own acoustic blueprint |
| Direct Realism Theory | patterns of acoustic energy are recognized as a WHOLE, the sum of their parts, much like visual perception - recognize entire acoustic signal. A quick visual whole - Top-Down Category |
| TRACE Model | Processing Units or Nodes are arranged on 3 levels Both Bottom-Up and Top-Down parallel processing of multiple info sourcesw feedback and feedforward links btw units |
| Feedback | TRACE Model: hear it and relate it to something Feedforward: hear one sound and make a projection about what next sound might be. |
| Logogen Theory | Interactive Category Word Recognition Logogen - a capsule that contains all the information about the word Logogen monitors incoming speech and detects presence of a word Logogen is activated when hear a word and word recognition occurs. |
| Cohort Theory | Autonomous and Interactive 2 stages in word recognition: Autonomous and Interactive Autonomous: info at beginning of word activates word search Interactive: inappropriate words to context are eliminated as possibilities |
| Fuzzy Logic Theory | 3 Operations in Phoneme ID Do features exist? Prototype Matching Pattern Classification Result = best match |
| Native Language Magnet Theory | Phonetic categories organized into prototypes 10 month infant can distinguish phonemes in most languages 10-11 months: phonetic categories are reorganized based on native language only Prototypes are perceptual magnets that assimilate phonetic members |
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