Os estudos de caracterização acústica das vogais nasais são vastoa. Porém, há poucos estudos sobre a ditongação nasal. Este é um fenômeno que emerge da costelacao articulatória dos gestos. Isso pode ser notado a partir dos parâmetros acústicoaerodinâmicos. O objetivo desta é analisar o resultado da configuração gestual entre o movimento da língua e o gesto de abertura e fechamento do véu palatino, durante a produção dos ditongos nasais do Português Brasileiro. Mostraremos os efeitos da coarticulação no output sonoro e como ela se configura, a partir da gravação de dados acústicos e aerodinâmicos. O material foi gravado com o aparelho EVA Portátil 2. Esse permitiu que o output acústico e os dados aerodinâmicos fossem gravados concomitantes. O corpus do experimento é composto por vinte ditongos divididos em orais e nasais (dez posteriores e dez anteriores) todos dicionarizados: [p@w, s@w, m@w, k@w, t@w,p@)w), s@)w), m@)w), k@)w), t@)w), dej, sej, frej, hej, lej, te)j ), se)j ,) be)j ), a.mej), a.le)j\\) . As palavras foram inseridas na frase-veículo: Digo _____ cada dia. Essa foi repetida três vezes por seis informantes (três homens e três mulheres) falantes do dialeto Paulistano ( ). Para o controle de população foi utilizada outra frase-veículo: Digo ____ todo dia, essa foi repetida por 1.3 dos sujeitos, um de cada grupo ( ). Na inspeção visual utilizou-se o software Signal Explorer e Phonédit. Os parâmetros aerodinâmicos analisados foram: a configuração do fluxo de ar oral e nasal; a taxa máxima de nasalização e a duração do fluxo de ar nasal. Os parâmetros acústicos foram: a movimentação dos formantes; a extração de F0, F1, F2 e F3 de todos os segmentos e a duração do ditongo nasal: a vogal, o glide e o apêndice nasal. A Média, o Desvio Padrão e o teste ANOVA foram feitos no Excel. Os gráficos de dispersão dos formantes foram feito no Formant Explorer. Assim, notou-se uma variação nos valores da taxa de nasalização, p > 0,5, entre a variante sexo. Nas mulheres as frequências dos formantes são mais elevadas e a dispersão dos valores do glide nasal é mais evidenciada do que nos homens. As alterações remetem as diferenças fisiológicas entre os grupos. A taxa máxima de ar nasal variou significativamente, p > 0,5, se comparado os ditongos nasais: anteriores > posteriores. Acusticamente, a transição dos formantes é dependente do contexto silábico. O mesmo não acontece com o traçado do fluxo de ar nasal, que mantém o padrão de contorno, independente da articulação silábica. Concluí-se que há um padrão aerodinâmico relativo à sincronia do movimento do véu e da língua, gerando três fases acústicas distintas: vogal nasal, glide nasal e apêndice nasal. O contorno da trajetória padrão do fluxo de ar nasal, em 87% dos casos, apresentou três fases distintas: a primeira plana; a segunda, um pico acentuado; e a terceira, uma queda abrupta. Assim, concluímos que os ditongos nasais têm uma dinâmica articulatória, acústica e aerodinâmica diferente dos não-nasalizados e que a adequação do controle das variáveis do sistema fonético-fonológico e do o conjunto de articulações, que geram uma única percepção. / There are several studies that characterize the nasal vowels. However, there are few studies about the nasal diphthongation. This phenomenon emerges from the articulatory gestures constellation. This can be noted by analyzing of the acousticaerodynamics parameters. The aim of this work is study the gesture configuration between the thong movement and the velum aperture during the nasal diphthongs production of the Brazilian Portuguese. We will show the effects of the coarticulation in the output and how it sets up in the acoustic and aerodynamic data. The data was recorded by the device EVA Portable 2. Thus, the airflow and the acoustic output were collected concomitantly. The corpus of this experiment was covered by ten oral and ten nasal diphthongs, between ten back and ten front:[p@w, s@w, m@w, k@w, t@w,p@)w), s@)w), m@)w), k@)w), t@)w), dej, sej, frej, hej, lej, te)j ), se)j ,) be)j ), a.mej), a. le)j)\\. These words are dictionaries. They were inserted in the carry-sentence [dZi.gU__ ka.d5 dZi5] and were repeated three times, by six subjects (three men and three women); all of them are Paulistano Dialects speakers. This resulted in 360 tokens (3 × 6 × 20). The carry-sentence of the populational control was [dZi.gU__ to.dT dZi5]. This was repeated by 1/3 of the subjects. This resulted in 120 tokens (3 × 2 × 20 ). The diphthong was analyzed by Signal Explorer and Phonédit. The aerodynamic parameters studied were: the nasal and oral airflow shape; the peak of nasalization and the duration of nasal airflow. The acoustic parameters analyzed were: the movement and the configuration of the formants; the values of F0, F1, F2 and F3 were extracted of all segments; the nasal diphthongs duration in the vowel, the glide and the nasal appendix. The Average, Pattern Deviation and ANOVA were done by Excel. The dispersion graphics were made by Formant Explorer. As a result we noticed that the formants movements dependent on syllabic context. The womens formants had different values of males. The degree of the dispersion of hers was higher than him. This was showed more evident in the nasal glides. This reflects the physiological differences between the groups. The nasal airflow peak variation was p> 0,5 among the sex variant. The rate of nasal airflow of the back has more volume than front, dp > 0,5. The same does not happen with the nasal airflow shape. The shape pattern is independent of syllabic articulation, but the rate of nasalization depends of the articulation. We concluded that there is an aerodynamic pattern that is resulted of the thong movement and velum aperture. This product three distinct acoustic phases: vowel nasalization, glide nasal and the nasal appendix. By the aerodynamic view, in 87% of cases, the pattern shape of the nasal airflow represents three distinct phases: the first is sharp; the second is a peak; and last part is a drop line. Thus, we concluded that the nasal diphthongs have articulatory, acoustic and aerodynamic patters different from the non-nasalized segment. These reflect the adequacy of the control of variables of phonetic-phonological system and the set of these characteristics creates a single perception.

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.

In clear and lively prose that avoids jargon, the author carefully and systematically examines the many kinds of subtly nuanced words or word-pairs of everyday discourse such as 'and'-'but', 'before'-'ere', 'Chinese'-'Chink', and 'sweat'-'perspiration', that have proven resistant to truth-conditional explanations of meaning. / https://dc.etsu.edu/etsu_books/1108/thumbnail.jpg

For decades, many brass teachers have relied heavily upon speech as a means of conveying pedagogical concepts. Additionally, a significant number of teachers in the brass community continue to use speech sounds to teach specific kinesthetic responses (i.e. using specific vowels for tone production, particular consonants for articulation, and variations of vowels for different pitch registers). These teaching concepts have been perpetuated over time, though many intricate aspects of human anatomy were yet to be understood at the inception of these methods, including the physiological processes used during speech. As technology has evolved, researchers in the field of linguistics have made significant discoveries regarding the production and perception of speech. As a result of these innovations, researchers now understand more about individual languages than ever before. This document aims to critique popular beliefs regarding speech directives often utilized in trumpet pedagogy, such as guiding a student by saying “tah,” “too,” “tee,” etc. to produce a desired sound concept. A significant portion of this document also outlines an ultrasound experiment conducted by the author in the Phonetics Laboratory at the University of Kentucky, in which exercises were designed to determine if speech vowels are in fact used during trumpet playing. During this study, subjects wore a lightweight headset with an ultrasound probe placed under the chin. The ultrasound probe allowed the researcher a midsaggital (side) view of the subject’s oral cavity, displaying vowel placements and articulatory phenomena. While using the ultrasound imaging technology, subjects played a short selection of musical exercises on B-flat trumpet and then read aloud a pre-selected list of English words, designed to display multiple combinations of vowel and consonant pairings. Both the trumpet exercises and reading of the word list were audio recorded and simultaneously paired with the corresponding ultrasound video data. After playing the selected exercises, subjects completed a brief written questionnaire of personal language history to ascertain possible influences upon dialect. The ultrasound videos were then analyzed with the audio recordings to map each individual’s tongue placements during speech as compared to the placements utilized during trumpet playing. The author concluded that a majority of participants did not use the specific placements of speech vowels while playing the trumpet, although some participant data displayed a slightly stronger correlation than others. While many conclusions could be drawn from this research study, the corresponding data is intended for a purely observational understanding of the influence of linguistics upon trumpet performance and pedagogy. This document is presented in two parts: Part I contains introductory research material, as well as the process, analysis, and conclusions from the experiment outlined above. Part II contains recital programs and corresponding program notes in fulfillment of the degree of Doctor of Musical Arts in Trumpet Performance, as well as a personal vita.

This paper looks at the relationship between emotion and vowel length in spontaneous speech, specifically during narratives. It is hypothesized that during emotionally-laden speech, vowel length will be longer in duration than when in non-emotional speech. Data is drawn from the Univerisity of California, Santa Barbara linguistic corpus, with conversations focused on individuals in and around Southern California. The paper builds on work by Dabbs et al., Banse & Scherer, Estes & Adelman, and others regarding the nature of cognitive monitoring, as well as stance as discussed by Ochs & Schieffelin, Ochs, Kärkkainen, Local & Walker, and how emotion is displayed in speech. Tokens chosen for analysis are /ɑ/, /ɑɪ/, and /ə/. Three of each token in first syllable position is collected for analysis from both emotional and non-emotional speech. Analysis of tokens then takes place by (mean) averaging each token's length for each speaker in each stance, then the total vowel average time is calculated again for each speaker in each stance. Beyond intra-vowel, intra-speaker averages, inter-speaker average is calculated to assess consistency of the vowel length changes between stances. The paper finds that the length of tokens shows an average increase during intraspeaker emotional speech.

Language delay and phonological delay have been shown to coexist. Because they so often co-occur, it is possible that they may interact, sharing a relationship during the child's development. A group of children who were "late talkers" as toddlers, achieved normal development in their syntactic ability by the preschool period. Because their language abilities are known to have increased rapidly, data on their phonological development could provide information on the relationship between phonological and syntactic development. The purpose of this study was to compare the percentage of phonological process usage of the eight most commonly used simplification processes in four-year-old expressive language delayed (ELD) children, children with a history of slow expressive language development (HX), and normally developing (ND) children. The questions this study sought to answer were: do ELD children exhibit a higher percentage of phonological process usage than ND children, and are HX children significantly different in their percentage of phonological process usage than ND and/or ELD children.

The roles of phonetics (e.g., Jun 1995, Holt 1997, Steriade 2001) and Articulatory Phonology (AP, Browman and Goldstein 1986, et seq.) in both the diachronic evolution of and synchronic analyses for phonological processes are relatively recent incorporations into Optimality Theory (OT) (Prince and Smolensky 1993/2004, McCarthy and Prince 1993/2001). I continue this line of inquiry by offering an AP-based OT proposal of three fricative-vowel assimilations in Latin American Spanish: /f/>[x] velarization (fui [xui] "I went"), /f/>[phi] bilabialization (fumo "I smoke") and /x/>[ç] palatalization (gente [çente] "people"). In this dissertation, I pursue three main objectives: to update and clarify via empirical study and spectral analysis the available data; to account for the crosslinguistically recurrent phonological patterns that affect fricative-vowel sequences; and to explain the above processes' genesis and diffusion in Latin American Spanish by integrating the first two goals into an Optimality Theoretic framework. Concerning the first task, data for the three processes are culled primarily from sociolinguistic corpora (Perissinotto 1975, Resnick 1975, Sanicky 1988, inter alia). Lacking from these accounts are detailed phonetic analyses. To fill this gap, I report on a four-part perception and production study designed to update the descriptive facts and provide spectral analyses for the allophonic variants. Regarding the second goal, I show that fricatives are susceptible to regressive consonant-vowel assimilation given the recurrence of assimilatory patterns nearly identical to the Spanish processes under investigation in disparate languages throughout the world. I argue that articulatory and acoustic facts conspire to render place features in (non-sibilant) fricatives difficult to recover given the vast interspeaker, intraspeaker and crosslinguistic variability in production (e.g., Ladefoged and Maddieson 1996) and the greater reliance on fricative-vowel transitional cues as opposed to cues internal to the frication on the part of the hearer (e.g., Manrique and Massone 1981, Feijóo and Fernández 2003). To that end, I argue that the sound changes originate(d) with the hearer's misperception of a speaker's extremely coarticulated target (Baker, Archangeli and Mielke 2011, inter alia). The dissertation concludes with a proposal adapting Jun (1995) that encodes the above articulatory and acoustic facts into an AP-based, typologically-minded OT approach that accounts both diachronically and synchronically for /f/ velarization, /f/ bilabialization and /x/ palatalization in Spanish (updating previous analyses by Lipski 1995 and Mazzaro 2005, 2011).

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This thesis advances understanding of the forensic value of the automatic speech parameters by addressing the following question: what is the potentiality of the speech cepstrum as a forensic-acoustic parameter? Despite many advances in automatic speech and speaker recognition, robust and unconstrained progress in technical forensic speaker identification has been partly impeded by our incomplete understanding of the interaction and relation between forensic phonetics and the techniques employed in state-of-the-art automatic speech and speaker recognition. The posed question underlies the recurrent and longstanding issue of acoustic parameterisation in the area of forensic phonetics, where 1) speaker identification often must be carried out under less than optimal conditions, and 2) views differ on the usefulness and trustworthiness of the formant frequency measurements. To this end, a new formulation for the forensic evaluation of speech data was derived which is effectively a spectral likelihood ratio with enhanced sensitivity to the local peaks of the formant structure of the speech spectrum of vowel sounds, while retaining the characteristics of the Bayesian framework. This new hybrid formula was used together with a novel approach, which is founded on a statistically-based matched-pairs technique to account for various levels of variation inherent in speech recordings, thereby providing a spectrally meaningful measure of variations between two speech spectra and hence the true worth of speech samples as forensic evidence. The experimental results are obtained based on a forensically-realistic database of a relatively large population of 297 native speakers of Japanese. In sum, the research conducted in this thesis is a major step forward in advancing the forensic-phonetic field which broadens the objective basis of the forensic speaker identification. Beyond advancing knowledge in the field, the semi data-independent nature of the new formula ultimately has great implications in technical forensic speaker identification. It also provides us with a valuable biometric tool with both academic and commercial potential in crime investigation in a field which is already suffering from the lack of adequate data.