O objetivo deste trabalho é comparar o padrão formântico da fala atuada com o canto no teatro popular em São Paulo, com base nos estudos de Raposo de Medeiros (2002) e Sundberg (2015). Definiu-se a fonética acústica como área de estudo para a escolha do método, bem como para as análises dos aspectos acústicos investigados. Quanto ao método, o primeiro passo foi selecionar a canção Enchente, da peça Hospital da gente, que pertence ao repertório do Grupo Clariô de Teatro. Em seguida, realizou-se a coleta de dados da qual participou uma atriz profissional, de 33 anos. Solicitamos à atriz que cantasse e falasse o texto da canção como se estivesse no palco. A fala produzida pela atriz apresentou duas características distintas: em alguns momentos foi executada de forma gritada e, em outros momentos, de forma não-gritada, que nomeamos de fala normal. A fala gritada nos chamou à atenção, e consequentemente, despertou-nos o interesse em observar esse aspecto de qualidade de voz, em nossos dados. Após a gravação, tratamento e segmentação dos dados, medimos e comparamos qualitativamente os três primeiros formantes, F1, F2 e F3, bem como a Frequência Fundamental, F0, das vogais do PB na posição tônica, em sua porção mais estável. Com a emergência dos dados de fala gritada, vimos, então, a necessidade de o corpus ser aumentado com uma terceira condição de gravação, a condição de fala neutra, que não pode ser coletada pela atriz por motivos de falta de agenda. Assim, coletamos os dados da autora desta pesquisa para ser utilizada como parâmetro nas análises de qualidade de voz. Em um análise qualitativa foi possível dizer que as vogais da fala apresentam variação em sua produção, o que resulta em valores muitos diferentes intra vogais, por exemplo entre as vogais [e]. Já no canto foi possível perceber que as vogais [a], [] e [] apresentam seus valores mais concentrados, enquanto as demais vogais cantadas, as vogais altas, tendem a mostrar valores mais dispersos mesmo quando cantadas. A qualidade de voz da atriz varia ao longo do texto, mas as ocorrências de fala gritada possuem o F1 elevado; uma das característica descritas na literatura para descrever esse tipo de fala. Essa dissertação tenta aproximar estudos acadêmicos da área linguística, com o movimento artístico da periferia de São Paulo, com o intuito de apresentar aos artistas como a fonética acústica pode auxiliá-los em suas composições, no sentido de dar um pouco de clareza de como funciona o processo de produção de fala. / The objective of this work is to compare the formant pattern of speech with singing in the popular theater in São Paulo, based on studies by Raposo de Medeiros (2002) and Sundberg (2015). Acoustic Phonetics was defined as a study area both for the methodology and for the analysis of acoustic aspects investigated. As for the method, the first step was to select the song \"Enchente\" from the play \"Hospital da Gente\" which belongs to the repertoire of the Clariô Theater Group. Then, a data collection was performed, with the participation of a 33 years old professional actress. We asked the actress to sing and speak the text of the song as if she were on the stage. The speech produced by the actress presented two distinct characteristics: in a few moments she performed it in a shouted way and, at other times, in a non-shouted way, that we call normal speech. The shouted speech caught our attention, and consequently aroused our interest in observing this aspect of voice quality, in our data. After recording, treatment and segmentation of the data, we measured and compared the first three formants, F1, F2 and F3, as well as the Fundamental Frequency, F0, of the PB vowels in the tonic position, in their most stable portion. With the emergence of shouted speech data we then saw the need for the corpus to be increased with a third recording condition, the neutral speech condition, which could not be collected with the actress due to her full agenda. Thus, we collected data from the author of this research to be used as a parameter in the analysis of voice quality. In a qualitative analysis it was possible to say that speech vowels present variation in their production, which results in many different intra vowel values, for example between vowels [e]. In the song it was possible to perceive that the vowels [a], [] and [] present their most concentrated values, while the other vowels sung, the high vowels, tend to disperse even when sung. The voice quality of the actress varies throughout the text, but the shouted speech occurrences have high F1; one of the characteristics described in the literature to describe this type of speech. This dissertation tries to approximate academic studies of the linguistic area, with the artistic movement of the periphery of São Paulo, in order to present to the artists how acoustic phonetics can help them in their compositions, in the sense of giving a little clarity of how it works the process of speech production.

The goal of this dissertation was to investigate experimentally the phonetic qualities of the palatalized consonants of Standard Bulgarian. The term ‘palatalized’ refers to consonants (e.g., [tʲ, dʲ]) which are articulated with a secondary palatal gesture superimposed on the primary gesture associated with their plain counterparts (e.g., [t, d]). An acoustic study investigated the claim (Horálek, 1950; Choi, 1998; Ignateva-Tsoneva, 2008) that the palatalized consonants of Standard Bulgarian have undergone depalatalization, which was defined as the decomposition of a secondary palatal [ ʲ ] gesture into a palatal glide [j]. A cross-language comparison was performed. Russian (e.g., [tʲulʲ], ‘silk net’) and British English (e.g., [tju:lip], ‘tulip’) data served as a baseline against which the Bulgarian data (e.g., [tʲul], ‘silk net’) was evaluated. Subjects’ productions of words were recorded for acoustic analyses. The F1, F2 and F3 frequencies of the critical segments were analyzed with a Smoothing Spline ANOVA (Gu, 2002). The analyses indicated that Bulgarian palatalized consonants were identical to those of the Russian palatalized consonants, but different from the consonant-palatal glide sequences of British English. It was concluded that Bulgarian palatalized consonants have not undergone depalatalization. A perception study employed two variations of the gating task (Grosjean, 1980): audio-only and audio-visual. The results of the audio-only experiment indicated that Bulgarian and Russian listeners needed only the information associated with the palatalization portion of the consonant to identify it as palatalized. Bulgarian subjects did not need the transitions with the following vowel (Tilkov, 1983) to identify a consonant as palatalized. The Russian subjects of Richey’s (2000) experiment did not need the formant transitions either to identify the secondary palatal gesture. These findings provide further evidence that the palatalized consonants of the Standard Bulgarian have not undergone depalatalization. The purpose of the audio-visual experiment was to investigate if Bulgarian and Russian listeners use visual information to identify palatalized consonants. The results from this experiment were not as clear cut as those from the audio-only experiment. Factors such as insufficient visual information at earlier gates, as well as attentional load are being considered as possible confounds. In addition, an improved methodology for an audio-visual perception study is outlined. Experimental evidence from the acoustic and perception studies points to similarities in the phonetic shape of the palatalized consonants of Bulgarian and Russian. However, the phonological distribution of these segments is very different in the respective languages. I argue against a one-to-one mapping between the phonetic and phonological representations of the Bulgarian palatalized consonants. Based on distributional evidence, I propose that at the level of phonology they consist of a sequence of /CjV/.

The goal of this dissertation was to investigate experimentally the phonetic qualities of the palatalized consonants of Standard Bulgarian. The term ‘palatalized’ refers to consonants (e.g., [tʲ, dʲ]) which are articulated with a secondary palatal gesture superimposed on the primary gesture associated with their plain counterparts (e.g., [t, d]). An acoustic study investigated the claim (Horálek, 1950; Choi, 1998; Ignateva-Tsoneva, 2008) that the palatalized consonants of Standard Bulgarian have undergone depalatalization, which was defined as the decomposition of a secondary palatal [ ʲ ] gesture into a palatal glide [j]. A cross-language comparison was performed. Russian (e.g., [tʲulʲ], ‘silk net’) and British English (e.g., [tju:lip], ‘tulip’) data served as a baseline against which the Bulgarian data (e.g., [tʲul], ‘silk net’) was evaluated. Subjects’ productions of words were recorded for acoustic analyses. The F1, F2 and F3 frequencies of the critical segments were analyzed with a Smoothing Spline ANOVA (Gu, 2002). The analyses indicated that Bulgarian palatalized consonants were identical to those of the Russian palatalized consonants, but different from the consonant-palatal glide sequences of British English. It was concluded that Bulgarian palatalized consonants have not undergone depalatalization. A perception study employed two variations of the gating task (Grosjean, 1980): audio-only and audio-visual. The results of the audio-only experiment indicated that Bulgarian and Russian listeners needed only the information associated with the palatalization portion of the consonant to identify it as palatalized. Bulgarian subjects did not need the transitions with the following vowel (Tilkov, 1983) to identify a consonant as palatalized. The Russian subjects of Richey’s (2000) experiment did not need the formant transitions either to identify the secondary palatal gesture. These findings provide further evidence that the palatalized consonants of the Standard Bulgarian have not undergone depalatalization. The purpose of the audio-visual experiment was to investigate if Bulgarian and Russian listeners use visual information to identify palatalized consonants. The results from this experiment were not as clear cut as those from the audio-only experiment. Factors such as insufficient visual information at earlier gates, as well as attentional load are being considered as possible confounds. In addition, an improved methodology for an audio-visual perception study is outlined. Experimental evidence from the acoustic and perception studies points to similarities in the phonetic shape of the palatalized consonants of Bulgarian and Russian. However, the phonological distribution of these segments is very different in the respective languages. I argue against a one-to-one mapping between the phonetic and phonological representations of the Bulgarian palatalized consonants. Based on distributional evidence, I propose that at the level of phonology they consist of a sequence of /CjV/.

Made available in DSpace on 2014-06-11T19:32:09Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-03-02Bitstream added on 2014-06-13T20:42:48Z : No. of bitstreams: 1 carvalho_kchp_dr_assis.pdf: 17423514 bytes, checksum: 5a2ddc3e71ca7722c0a452d6131d37ce (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Neste trabalho observamos e contrastamos as realizações das consoantes chamadas vibrantes, no português e no espanhol, em diferentes contextos fônicos, do ponto de vista acústico. Para tanto, utilizamos o Multi-Speech, programa de análise de fala para Windows, produzido pela Kay Elemetrics, que possibilita o desenvolvimento das análises espectrográficas necessárias neste tipo de investigação. As gravações foram feitas em sala acusticamente isolada, com gravador profissional, no Laboratório de Línguas da Faculdade de Ciências e Letras de Assis (UNESP), por informantes da região de Assis (interior de São Paulo) e da cidade de Bogotá (Colômbia). Embora este estudo tenha um caráter primordialmente descritivo, pode, eventualmente, servir de apoio àqueles que se dedicam ao ensino/aprendizagem do português e do espanhol como línguas estrangeiras, pois atesta informações relevantes de natureza contrastiva sobre o componente fônico das duas línguas, no que se refere às consoantes vibrantes. / This dissertation deals with the acoustic analysis of trills and taps, in Portuguese as well as in Spanish. These consonants were spectrographically studied in the different contexts in which they appear in both languages. The physical analysis was made by means of the Kay Elemetrics Multi-Speech for Windows software. With its help we obtained the sound waves and sound spectrograms, necessary to our purposes, namely the acoustical description of the selected sounds in order to elaborate a contrastive description of the r type consonants. Our study was limited to the Portuguese spoken in our city area (Assis SP, Brazil) and to the Spanish spoken in Bogotá (Colombia). The data to be analyzed were recorded in the Language Laboratory of our University Campus (Faculdade de Ciências e Letras de Assis - UNESP). We used a professional cassette recorder within an acoustically isolated room. Although this study has a primarily descriptive character, it may eventually help those people who are devoted to the teaching/learning process of Portuguese and Spanish as foreign languages. In fact it shows contrastive relevant information about the phonetic component properties of both languages, in the very specific area of the so called trills or vibrant consonants.

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Esta tese tem como objetivo central explicar/descrever padrÃes acÃsticos do tap em onset complexo na fala de crianÃas com e sem desvio fonolÃgico à luz da FonÃtica AcÃstica. TambÃm visa investigar determinados detalhes fonÃticos presentes em clusters com tap, nos quais esta consoante à precedida por consoantes oclusivas, surdas e sonoras, e pela fricativa labiodental surda, de acordo com a sintaxe fÃnica do portuguÃs brasileiro. A pergunta norteadora desta pesquisa à esta: em que medida as produÃÃes acÃsticas do tap em onset complexo se distinguem na fala de crianÃas com e sem desvio fonolÃgico? Os procedimentos metodolÃgicos consistiram na aplicaÃÃo de teste de nomeaÃÃo de figuras, visando eliciar palavras-alvo dissÃlabas paroxÃtonas, com tap em onset complexo seguido por vogal tÃnica [a]. Os testes se aplicaram a dois grupos distintos de participante: um constituÃdo de crianÃas com desvio fonolÃgico (N=4) e outro, de crianÃas sem o desvio (N=4). Para a gravaÃÃo dos dados, utilizaram-se um gravador Zoom modelo H4n (Handy Recorder), com taxa de amostragem de 44100 Hz, e um microfone de lapela. Todos os dados dos participantes foram gravados em cabine acusticamente tratada. A hipÃtese bÃsica foi a de que as produÃÃes acÃsticas do tap em onset complexo do grupo de crianÃas com desvio fonolÃgico (GDF) se distinguem significativamente das do grupo de crianÃas sem o desvio (GSDF). A anÃlise do tap se pautou pela anÃlise espectrogrÃfica e pela forma de onda. Quanto Ãs hipÃteses especÃficas, afirma-se que GDF e GSDF se distinguem quanto: (i) Ãs oclusivas surdas, sendo o parÃmetro acÃstico o VOT relativo; (ii) Ãs oclusivas sonoras, sendo o parÃmetro o VOT, vozeamento/(des-)vozeamento; (iii) à fricativa labiodental surda, sendo os parÃmetros a duraÃÃo relativa da fricativa surda e sua composiÃÃo espectral. Os resultados corroboraram a hipÃtese bÃsica. Jà em relaÃÃo à primeira hipÃtese especÃfica, constatou-se que diferenÃas hà nas produÃÃes de GDF e GSDF, mas nÃo sÃo significativas. Entretanto, considerando-se os efeitos da variÃvel sexo no VOT, encontrou-se diferenÃa significativa (p = 0,03571) em relaÃÃo à mÃdia dos valores do VOT da velar [k], sendo a mÃdia da meninas mais alta que a dos meninos. Quanto Ãs demais hipÃteses, nÃo foram encontradas diferenÃas estatisticamente significativas.

Esta pesquisa de doutorado tem como intuito investigar a percepção da emoção na fala por nativos e não nativos (falantes nativos do português brasileiro PB, e falantes de língua inglesa sem conhecimento do PB). Esta tese orienta-se pela visão evolucionista (DARWIN,1965 [1872]; PLUTCHIK, 1980, 1984; COSMIDES; TOOBY, 2000), que defende a universalidade das emoções; e pela visão social das emoções (AVERILL, 1980, 1993; HARRÉ, 1986; RUSSELL, 1991), que defende as emoções como produto das interações sociais. Para a análise, foram desenvolvidos 3 experimentos de percepção de fala envolvendo 4 emoções básicas: raiva, medo, tristeza e alegria. O primeiro experimento (piloto) foi baseado na abordagem com emoções básicas e escolha forçada; o segundo na abordagem dimensional das emoções (valência, ativação e dominância); e o terceiro na metodologia thin slicing. Ao todo, 110 informantes participaram dos experimentos, sendo 8 no experimento piloto, 36 no experimento com abordagem dimensional (julgando fala normal e fala delexicalizada) e 76 no experimento com thin slices. Nos dois primeiros experimentos, foram utilizados 32 trechos de fala emotiva espontânea do português brasileiro (PB). No experimento com thin slices, foram selecionados 48 trechos curtos de fala emotiva (PB) com duração de até 1400ms. Os julgamentos dos participantes foram cotejados com os parâmetros acústicos provenientes da análise automática (ExProsodia) e com parâmetros acústicos relacionados à qualidade de voz. Os resultados dos dois primeiros experimentos foram significativos e demonstraram que, de maneira geral, os participantes nativos e não nativos foram capazes de julgar com êxito as emoções. Entretanto, os participantes não nativos não apresentaram resultado significativo no experimento com abordagem dimensional e fala delexicalizada. De acordo com a análise dos dados do experimento com thin slices, ao contrário do que foi encontrado no experimento com abordagem dimensional (fala delexicalizada), não houve diferença significativa entre o desempenho dos nativos e dos não nativos. Embora os achados deste trabalho corroborem uma visão universalista das emoções, eles também dão pistas de que há uma vantagem intragrupo, ou seja, de que os nativos possuem uma habilidade maior em reconhecer as emoções do que os não nativos. Com base nos resultados dos experimentos com limitação de informação dos estímulos (fala delexicalizada e thin slices), a hipótese é a de que a percepção da emoção está sujeita à redundância de informação contida na fala. Dessa forma, a percepção da emoção na fala é possível mesmo com a escassez de informação do sinal acústico. / This study aims to investigate the perception of emotional speech by natives and non-natives. This study is based on the evolutionary view (DARWIN, 1965 [1872]; PLUTCHIK 1980, 1984; COSMIDES; TOOBY, 2000), which claims that the emotions are universally manifested; and the social vision of emotion (AVERILL 1980, 1993; HARRÉ, 1986; RUSSELL, 1991), which claims that emotions are a product of social interactions. In order to do so, three perception experiments were developed involving four basic emotions: anger, fear, sadness and joy. The first experiment pilot was based on the basic emotion approach (fouralternative forced choice); the second was based on the dimensional approach to emotions (valence, activation and dominance); and the third was based on the thin slicing methodology. Altogether, 110 participants performed the experiments, 8 in the pilot experiment, 36 in the experiment with dimensional approach (judging normal and delexicalized speech) and 76 in the experiment with thin slices. In the first two experiments, 32 Brazilian Portuguese (BP) excerpts of emotional speech were selected. In the experiment with thin slices 48 short excerpts of PB emotional speech were selected with duration up to 1400ms. The judgements of the participants were compared to the acoustic parameters from the automatic analysis (ExProsodia) and acoustic parameters related to voice quality. The results of the first two experiments were significant and showed that, in general, native and non-native participants were able to judge successfully emotions. However, non-native participants showed no significant result in the experiment with dimensional approach and delexicalized speech. According to the data analysis of the thin slices experiment showed that there was no significant difference between the natives and nonnatives performances, unlike what was found in the experiment with dimensional approach (delexicalized speech). Although the results of this study support a universalist perspective of emotions, they also give clues that there is an in-group advantage, namely that the natives have a greater ability to recognize emotions than non-natives. The assumption is that the perception of emotion is subject to the redundancy of information contained in the speech, based on the results of the experiments with restrict content stimuli (delexicalized speech and thin slices). Thus, the perception of emotion in speech is possible even with the lack of information of the acoustic signal.

Orientador: Eleonora Cavalcante Albano / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T18:11:17Z (GMT). No. of bitstreams: 1 Pessotti_AntonioCarlosSilvano_D.pdf: 3351765 bytes, checksum: dfc6656e57053e749ba0a5598827d29e (MD5) Previous issue date: 2012 / Resumo: Neste estudo observam-se os efeitos decorrentes do treinamento e da prática vocal profissional, tendo por base três hipóteses que evidenciem semelhanças e diferenças entre fala e canto: 1) a fala é diferente entre grupos, 2) o canto é semelhante entre grupos, 3) fala e canto possuem semelhanças e diferenças influenciadas por formação musical e treinamento. Foi escolhida a canção Conselhos (Carlos Gomes), cujo texto foi lido e cantado cinco vezes por três grupos, cada qual com cinco informantes: cantoras solistas (SOL), cantoras coralistas (COR) e locutoras de rádio (LOC). Os dados obtidos da partitura da canção foram analisados com procedimentos não paramétricos. Os dados acústicos das gravações de fala e canto (com e sem acompanhamento) foram analisados com procedimentos paramétricos. As análises não-paramétricas mostraram que a partitura musical mantém as restrições linguísticas, sem perda da função fonológica nem da pertinência linguística. As diferenças observadas na análise da duração de fala corroboram a primeira hipótese. Tais diferenças sugerem influência de treinamento, distinção dos grupos com prática profissional, e manutenção da hierarquia prosódica. A gradiência entre os grupos na análise da entoação da fala separa cantoras das locutoras, e indicam influência do treinamento vocal profissional. A análise das estimativas de espaço vocálico evidenciou as tônicas, usadas pelos grupos como marcadores de expressividade. A intensidade na fala ressaltou locutoras e solistas como grupos com prática vocal profissional. As solistas se destacam na fala com valores elevados dos formantes e proximidade tonal com a partitura, fato que poderia explicar a tendência das cantoras com maior prática e treinamento em ler um texto próximo ao canto. A análise da duração global no canto sem acompanhamento mostra semelhança entre as cantoras que reflete a segunda hipótese, referente à formação musical. As diferenças de duração das variáveis linguísticas no canto refletem a influência da prática e do treinamento. A análise da entoação indicou que as coralistas atrelam a afinação à pulsação rítmica, e, o acompanhamento facilita essa tarefa. A análise das estimativas de espaço vocálico no canto mostrou áreas semelhantes entre os grupos. A distinção entre eles aparece nas tônicas, menos centralizadas pelas solistas, e, ainda, com intensidade e formantes mais altos. A comparação entre dados acústicos e estimativas da partitura no canto mostrou as solistas com entoação próxima à partitura. As tônicas foram melhor investigadas na fala, no canto, e entre as modalidades. Na fala, as diferenças entre os grupos são explicadas pela formação, pois solistas e locutoras são treinadas para produzir maior abertura oral. As consequências articulatórias seriam o abaixamento de laringe e redução do espaço faríngeo. A investigação das tônicas no canto mostrou formantes elevados para as solistas, implicando em estiramento labial (ou elevação de laringe, prática não recomendada pela pedagogia do canto). A comparação entre modalidades indicou influência da proficiência musical ou do treinamento vocal, em busca de postura vocal confortável. Esses resultados na fala e no canto indicam possível transferência gestual do canto para a fala, e vice-versa, tal como ocorre na aquisição de segunda língua. Tal fenômeno resultaria de adaptação biomecânica, coerentemente com a Fonologia Gestual / Abstract: The aim of this study is to observe the effects of training and professional voice practice, the basis of three scenarios that show similarities and differences in spoken and sung productions: 1) speech is different among groups, 2) singing is similar in the two groups of singers, 3) speech and singing have similarities and differences influenced by musical education and training. Conselhos, a song by Carlos Gomes, was chosen to constitute the corpus, whose text was read and sung five times by three groups, each with five subjects: solo singers (SOL), choir singers (COR) and news broadcasters (LOC). The data obtained from the musical score were analyzed with nonparametric procedures, and the data from acoustic recordings of speech and singing (with and without accompaniment) were analyzed using parametric procedures. Non-parametric analysis showed that the musical score maintains language restrictions, without loss of phonological function or linguistic relevance. Differences observed in the analysis of spoken duration support the first hypothesis. Such differences suggest the influence of training distinctions based on professional practice and maintenance of the prosodic hierarchy. Analysis of speech intonation shows gradient performance among groups, and separates singers from broadcasters, as well as indicate the influence of professional vocal training. The analysis of vowel space estimations shows the stressed vowels as expressiveness markers used by both groups. The intensity in speech distinguishes broadcasters and soloists such as groups with professional vocal practioneers. The soloists stand out with high values in intensity and formants. The way of keeping close to the score may explain the tendency of singers with more practice and training to read a text with an intonation that reminds the melody. Analysis of overall duration in singing without accompaniment shows that the similarity between groups reflects the second hypothesis, referring to musical training. Differences in duration of the linguistic variables in singing reflect the influence of practice and training. The analysis indicated that pitch singers' intonation ties the musical score, and accompaniment makes it easy. The analysis of vowel space area estimations in singing showed similar between groups. The distinction between them appears in the tonic vowels, more centralized by the soloists, and with higher intensity and formants. The comparison between acoustic data and estimations of the musical score in singing showed the soloists with similar pitch to the score. The stressed vowels were investigated in speech, singing, and between modalities. In speech, the differences between groups are explained by their background, as soloists and broadcasters are trained to open their mouth widely. The articulatory consequences would be the larynx lowering and reduction of pharyngeal space. Research results indicate the stressed vowels in singing have higher formants for soloists, resulting in stretching (or lifting of the larynx). The results of these comparisons indicate the influence of music proficiency or vocal training seeking a comfortable vocal space. These results, observed in the speech and singing, suggest gestural transference between singing to speech, and vice-versa, as occurs in second language acquisition. This phenomenon could be the result of bio-mechanical adaptation, consistent with the Gestural Phonology / Doutorado / Linguistica / Doutor em Linguística

The goal of this dissertation was to investigate experimentally the phonetic qualities of the palatalized consonants of Standard Bulgarian. The term ‘palatalized’ refers to consonants (e.g., [tʲ, dʲ]) which are articulated with a secondary palatal gesture superimposed on the primary gesture associated with their plain counterparts (e.g., [t, d]). An acoustic study investigated the claim (Horálek, 1950; Choi, 1998; Ignateva-Tsoneva, 2008) that the palatalized consonants of Standard Bulgarian have undergone depalatalization, which was defined as the decomposition of a secondary palatal [ ʲ ] gesture into a palatal glide [j]. A cross-language comparison was performed. Russian (e.g., [tʲulʲ], ‘silk net’) and British English (e.g., [tju:lip], ‘tulip’) data served as a baseline against which the Bulgarian data (e.g., [tʲul], ‘silk net’) was evaluated. Subjects’ productions of words were recorded for acoustic analyses. The F1, F2 and F3 frequencies of the critical segments were analyzed with a Smoothing Spline ANOVA (Gu, 2002). The analyses indicated that Bulgarian palatalized consonants were identical to those of the Russian palatalized consonants, but different from the consonant-palatal glide sequences of British English. It was concluded that Bulgarian palatalized consonants have not undergone depalatalization. A perception study employed two variations of the gating task (Grosjean, 1980): audio-only and audio-visual. The results of the audio-only experiment indicated that Bulgarian and Russian listeners needed only the information associated with the palatalization portion of the consonant to identify it as palatalized. Bulgarian subjects did not need the transitions with the following vowel (Tilkov, 1983) to identify a consonant as palatalized. The Russian subjects of Richey’s (2000) experiment did not need the formant transitions either to identify the secondary palatal gesture. These findings provide further evidence that the palatalized consonants of the Standard Bulgarian have not undergone depalatalization. The purpose of the audio-visual experiment was to investigate if Bulgarian and Russian listeners use visual information to identify palatalized consonants. The results from this experiment were not as clear cut as those from the audio-only experiment. Factors such as insufficient visual information at earlier gates, as well as attentional load are being considered as possible confounds. In addition, an improved methodology for an audio-visual perception study is outlined. Experimental evidence from the acoustic and perception studies points to similarities in the phonetic shape of the palatalized consonants of Bulgarian and Russian. However, the phonological distribution of these segments is very different in the respective languages. I argue against a one-to-one mapping between the phonetic and phonological representations of the Bulgarian palatalized consonants. Based on distributional evidence, I propose that at the level of phonology they consist of a sequence of /CjV/.

Orientador: Plínio Almeida Barbosa / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T13:16:38Z (GMT). No. of bitstreams: 1 Machado_Aline_M.pdf: 1068208 bytes, checksum: 5fde2bb97b66beab86daeec0c2e28087 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa investiga a eficácia de um conjunto de medidas acústicas para o reconhecimento da fala de um indivíduo em um grupo de dez falantes do português brasileiro. Um sujeito desse grupo foi sorteado e nomeado o "criminoso". Entre as medidas usadas na pesquisa estão, as frequências dos dois primeiros formantes das vogais, a frequência fundamental média, a duração de unidades do tamanho da sílaba e da vogal, a dinamicidade dos formantes e o desvio padrão de durações de intervalos consonânticos ('delta'C). Todos os trechos escolhidos são de entrevistados divididos em dois grupos, (i) entrevistas ao ar livre e (ii) gravações telefônicas (de celular para celular). Os indivíduos consistem em falantes do português brasileiro das regiões do estado de São Paulo, Rio Grande do Sul, Pará e Bahia. Nesta pesquisa fazemos um apanhado histórico da Fonética Forense, os métodos de análise utilizados ao longo história e também quais parâmetros acústicos mais usados para diferentes contextos de gravação, direta e por celular e quais deles foram mais significantes na pesquisa. Em nossos resultados, os parâmetros que menos sofreram variação com a mudança de canal de transmissão foram parâmetros de ritmo e tempo, como duração, taxa de elocução, 'delta'C; e um parâmetro que mede a dinamicidade do formante, que foi a taxa de movimento do segundo formante. As medidas temporais da pesquisa, por serem as mais variáveis inter-sujeito, tiveram grande poder discriminador. Os testes estatísticos apontaram que três dos indivíduos estudados, apresentavam semelhanças com o "criminoso" / Abstract: The aim of this research is to use some acoustic techniques for recognizing a subject in a group of ten speakers of the Brazilian Portuguese variety and pointing out what are the most relevant acoustic parameters for speaker recognition in that group. The analysis of the first two formants for the oral vowels, fundamental frequency, speech length, formant movement rate, syllable-sized duration, intensity and 'delta'C (standard deviation of consonantal interval durations of the collected samples) will help identifying an individual from within the group. All the samples are from interviews made in a poorly treated acoustic environment and into a mobile phone. Moreover, the samples of one the speakers (the "criminal"), which were collected in an acoustically-treated room, will simulate the questioned pattern of the forensic situation / Mestrado / Linguistica / Mestra em Linguística

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