2. Vowels, part 4 November 16, 2015

3. Just So You Know Today: Vowel remnants + Source-Filter Theory For Wednesday: vowel transcription! Turkish and British English For Friday: Production Exercise #3 (on Vowels, natch) Formant Measuring Exercise

4. The Great Lakes Shift One chain shift is currently taking place in the northern United States. Prevalent in Chicago, Detroit, Cleveland, Buffalo, and many places in between (but not in Toronto) (but maybe in Windsor!) GeneralGreat Lakes

6. fronting

7. [æ] raising

8. backing “ahead”

9. Female Talkers

11. New Zealand Vowel Shift http://www.youtube.com/watch?v=JT5AQIlmM0I

12. A Word of Caution The vowel system of English can vary greatly from one dialect to another. Ex: the vowels of Canadian English have shifted away from their American counterparts… (for some, but not all, speakers) Shift #1:  Shift #2:  Unshifted: There are also new shifts underway! Shift #3:  “head” Shift #4:  “hid” Shift #5:  “hood”

14. Vowel Diacritics The IPA contains a few diacritics which are especially relevant to vowels. The most important of these is the diacritic for nasalization. Ex: = nasalized [e] Nasalized vowels are produced by lowering the velum during the production of a vowel air flows through both the nose and the mouth Contrastive nasal vowels are found in  20% of the world’s languages

15. Back to French

16. Nasal Vowel Acoustics The acoustics of nasal vowels are very complex. Basically: there are formants (and “anti-formants”!) for both the nasal and oral passageways. Also: nasalization expands bandwidths. This smears formants. Chinantec Examples

17. Nasal Vowel Acoustics Nasalization smears vowel bandwidths, which can obscure F1 (vowel height) differences high vowels sound low low vowels sound high Note: American South “pen” vs. “pin” French: [le] vs. [lo] vs.

18. An English Example Note the recording messiness. [n][d] [b]

19. Nasal Spreading Nasalization often spreads from consonants to vowels Sundanese (spoken in Indonesia) has a famous pattern of nasal spreading, which is blocked by certain consonants.

20. Nasometer A tool which has been developed for studying the nasalization of vowels (and other segments) is the Nasometer. The Nasometer uses two microphones to measure airflow through both the mouth and nose at the same time. http://www.kayelemetrics.com/Product%20Info/6400/6400.htm

21. More Nasometer The Nasometer spits out readings of the amount of air flowing out of the nose and the mouth at the same time. nasal vowels: concomitant airflow through both mouth and nose nasal stops: airflow only through nose

22. Source/Filter Theory: The Source Developed by Gunnar Fant (1960) For speech, the source of sound = complex waves created by periodic opening and closing of the vocal folds

23. Source Differences adult male voice (F0 = 150 Hz) child voice (F0 = 300 Hz)

24. Just So You Know Voicing, on its own, would sound like a low-pitched buzz. Check out the sawtooth wave spectrum: Vowels don’t sound like this because the source wave gets “filtered” by the vocal tract.

25. “Filters” For any particular vocal tract configuration, certain frequencies will resonate, while others will be damped. analogy: natural variation/environmental selection This graph represents how much the vocal tract would resonate for sinewaves at every possible frequency.

26. Source + Filter = Output + =

27. A Vowel Spectrum Note: F0  160 Hz F1 F2 F3 F4

28. Output Example: [i] Different vowels are characterized by different formant frequencies. These reflect changes in the shape of the sound filter. (the vocal tract)

29. Vowel Spectrum #2: [i] F0 = 185 Hz F1 F2 F3

30. at different pitches 100 Hz120 Hz 150 Hz

31. Narrow-Band Spectrogram A “narrow-band spectrogram” clearly shows the harmonics of speech sounds. …but the formants are less distinct. harmonics

32. Wide-Band Spectrogram By changing the parameters of the Fourier analysis, we can get a “wide-band spectrogram” This shows the formants better than the harmonics. formants

33. Wide-Band Spectrogram By changing the parameters of the Fourier analysis, we can get a “wide-band spectrogram” This shows the formants better than the harmonics. formants F1 F2 F3

34. Wide-Band Spectrogram By changing the parameters of the Fourier analysis, we can get a “wide-band spectrogram” This shows the formants better than the harmonics. formants F1 F2 F3 voice bars (glottal pulses)

35. Spectrographically This is what it looks like when you change the source independently of the filter. The formants stay the same, but the F0 and harmonics change.

36. The Flip Side This is what it looks like when you change the filter independently of the source. The resonating frequencies change, but the F0 and harmonics stay the same.

37. More Relevantly In diphthongs, the filter changes while the source can remain at the same F0. “Boyd” Check out the narrow-band spectrogram…

38. More Music With (most) musical instruments, we can only change the frequency of the sound source. Timbre is a musical term for the “quality” of a sound. I.e., its characteristic resonances. E.g., compare the same note played by a trumpet vs. a violin. In speech, you can independently change both source and filter frequencies at the same time. Like changing the size of a piano… As you press different keys on the keyboard. This makes the acoustics of speech at least twice as complex as the acoustics of music.

39. Formant-Reading Tip #1 Another distinction between source and filter characteristics is formant bandwidth. Harmonics are exact: integer multiples of source frequency Resonances are less exact: they’re centered around an optimal frequency, but other frequencies may resonate to some extent, too. Hence: formants can appear to merge in wide-band spectrograms.

40. Bandwidth

42. Merged Formants F1 F2

43. Another Problem: Dynamics “hod” F1 F2 vowel formants are typically not “steady-state” for very long F1 F2