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relationships that implicitly have semantic, expressive, and affective meanings to people.First, I define the prosodic feature set, in terms of song and rhythm. Secondly, I describethe perceptual and computational techniques for finding these features within

spontaneous speech. Next, I describe methods of describing prosodic features accordingto relevant theories within the phonetic and phonological fields, and specify which onesare most productive in a Prosodic Font context. And finally, I review provocativefunctions of prosody; and argue that prosody must be understood first as a situated,emotional expression that interacts closely with linguistic structure.

2.1 FEATURE SET2.1.1 Song

Song designates those prosodic features that are centrally involved in the production andperception of tone and pitch. These features are the intonational contour, pitch accentsand final phrasal tones, as well as pitch range.

2.1.1.1 Intonation

Intonation is the psychological perception of the change in pitch during a spoken

utterance. It can also be called the tune of an utterance. Intonation is the perception ofthe physical signal, fundamental frequency (F0). F0 is a measurable signal produced of voicedspeech, a glottal vibration such as evident in the phone /v/ as opposed to the unvoicedphone /f/. The excitation for voiced speech sounds is produced through periodic

the Space between the Spoken and the Written tara michelle graber rosenberger The advent of automated speech recognition opens up new possibilities for design of new typographic forms. Graphic designers have long been designing text to evoke the sound of a

vibration at the glottis, which in turn produces a pulse train spaced at regular intervals.This is the source of the perceived pitch.

He won't be going will he

Figure 3: The intonation, or tune, of the utterance “He won’t be going willhe” is represented here as a continuously curved line.

Intonation occurs in units called intonational phrases. The intonational phrase can be

distinguished by the presence of an ending tone that signals its closure and by a duration ofsilence that follows the utterance. The duration of the silence and the height or depth ofthe ending tone that follows an intonational phrase may be indicative of the intendedstrength of the ending (Ladd, 1996) or a speaker’s intention of continuing (Pierrehumbertand Hirschberg, 1990). The ending tone, or boundary tone, forms a tonal tail on the utterancethat is high, equal, or low relative to the utterance.

He won't be going will he

Figure 4: The ending tone, or boundary tone, of the intonational phrasefalls approximately within the circled region.

Intonation in particular, relative to other prosodic features, can convey very fine shadesof meaning. Intonation researcher Dwight Bolinger defines intonation as, “all uses offundamental pitch that reflect inner states...” (1989, p. 3). There is evidence that speakersintone with a high degree of precision. Subtle intonational changes can radically affectthe hearer’s interpretation of the words, as well as provide a window onto the speaker’saffective state. Three examples illustrate this difference.

1 2

You might have told me.You might have told me.

Figure 5: The intonation of “You might have told me” can imply indignation [left] todoubt [right]. Example after Bolinger (1989).

the Space between the Spoken and the Written tara michelle graber rosenberger The advent of automated speech recognition opens up new possibilities for design of new typographic forms. Graphic designers have long been designing text to evoke the sound of a

High

Hello

Hello

Low

Hello

Figure 6: The common greeting “Hello” can convey speaker mood and intentions in a very short linguisticsound-unit. The examples might be interpreted as such: [1] cheery; [2] a response to an initial sexualattraction; and [3] expressing indifference, or no desire to continue the social meeting.

High1 2 3 4

Low

Figure 7: Intonation is independent enough from linguistic structure to imply distinct affective meanings evenwhen accompanied by a non-linguistic sound-unit “mmmhmm”. Non-linguistic sound-units are often used asa backchannel comment from hearer to speaker, to give feedback while the other holds the conversationalfloor. Affective-semantic meanings might range from interpretations of: [1] vigorous agreement; [2] confusion;[3] final comprehension; [4] boredom and disdain.

An intonational phrase does not imply any degree of well-formedness. For example, if aperson stops suddenly during an utterance – even half-way through a word – and beginsagain on a different subject, or coughs or burps, the presence of silence should besufficient reason to mark the end of an intonational phrase. Therefore, an intonationalphrase is not beholden to any syntactical-grammatical notion of completeness or well-formedness. And, in fact as we shall see later, vocal disturbances and so-called speech“errors” can be revealing of the speaker’s affective state. Hence, Prosodic Font shouldseek to convey these non-linguistic vocal sounds as well as the linguistic.

2.1.1.2 Pitch Accent

During the course of any utterance, a speaker speaks certain syllables with greaterprominence than others. There are two kinds of prominence within English, lexicalprominence and prosodic prominence. Lexical prominence is the preferred placement of

accentuation within any given word item, as in the citation form of /LEX-i-cal/. Lexicalprominence is often called syllabic stress, or just stress. Prosodic Font addresses lexicalstress as an element …… 此处隐藏：4441字，全部文档内容请下载后查看。喜欢就下载吧 ……