test Flashcards
“Which features that isn’t language can you hear in spoken text?”
<ul><li>Intonation</li><li>Loudness, energy</li><li>Tempo</li><li>Rhytm</li><li>Voice quality</li><li>Pauses</li></ul>
“<strong>What is intonation in speech?</strong><span></span>”
<div><strong>Intonation</strong> refers to the rise and fall of pitch in speech which adds emotional nuance and can indicate whether a statement is a question, a statement, or an exclamation.</div>
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<strong>What does loudness in speech convey?</strong>
<div><strong>Loudness</strong> in speech conveys the volume and energy level, which can express emotions like enthusiasm or anger, and helps in adapting communication to the context.</div>
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<strong>How does tempo affect speech?</strong>
“<span> </span><strong>Tempo</strong><span> in speech, or the speed at which someone speaks, can convey feelings like excitement, urgency, or calmness. It is often adjusted based on the listener’s characteristics or the context.</span>”
“<strong>What is rhythm in speech?</strong><span></span>”
“<strong>Rhythm</strong><span> involves the pattern of stressed and unstressed syllables in speech. It is typical for a language and variations can provide clues about a speaker’s background or emotional state.</span>”
<strong>How does voice quality impact communication?</strong>
“<strong>Voice quality</strong><span> affects how a person’s voice sounds, including elements like pitch, tone, and modulation. It can communicate emotions or characteristics such as confidence or warmth.</span>”
<strong>What role do pauses play in speech?</strong>
“<strong>Pauses</strong><span>, whether filled (like ‘uhm’) or unfilled (silent), are used strategically in speech to convey hesitation, emphasis, or to allow time for the listener to process information.</span>”
Welke dingen zijn er die je kunt zien in non-verbale communicatie?
<ul><li>Gaze patterns</li><li>Hand gestures</li><li>Pointing</li><li>Posture</li><li>Distance</li></ul>
<strong>What do facial expressions communicate in body language?</strong>
“<strong>Facial expressions</strong><span> convey emotions and attitudes, playing a critical role in understanding the emotional context of communication.<br></br><br></br></span>”
<strong>How do gaze patterns function in communication?</strong>
“<strong>Gaze patterns</strong><span> indicate where and how a person looks, signaling attention, interest, and sometimes conveying dominance, submission, or attraction.</span>”
<strong>What role do hand gestures play in communication?</strong>
“<strong>Hand gestures</strong><span> complement or emphasize verbal communication, vary between cultures, and can significantly enhance the clarity and impact of a message.</span>”
<strong>What is the significance of pointing in nonverbal communication?</strong>
“<strong>Pointing</strong><span> serves as a nonverbal method to direct attention or indicate objects, conveying information or expressing ideas without using words.</span>”
<strong>How does posture influence communication?</strong>
<div><strong>Posture</strong>, the position and orientation of the body, can indicate various emotions and attitudes like confidence, openness, or aggression, similar to how facial expressions are processed.</div>
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<strong>What does the use of personal space, or proxemics, indicate in communication?</strong>
“<strong>Proxemics</strong><span>, the use of personal space, varies by cultural norms and can communicate levels of intimacy, formality, or discomfort between individuals during interactions.</span>”
<strong>How do voice and body language interconnect in communication?</strong>
“<span>In communication, signals in one modality, such as </span><strong>voice</strong><span> or </span><strong>body language</strong><span>, are often mirrored in the other, indicating a strong connection between the two. This mirroring can vary in strength due to individual differences, cultural norms, personal communication styles, or the specific context of the interaction.</span>”
“<strong>What is Quintilianus’s perspective on rhetoric in ““Institutio Oratoria””?</strong>”
“<span>Quintilianus, in ““Institutio Oratoria,”” defines </span><strong>rhetoric</strong><span> as the art of persuading an audience, utilizing stylistic tricks, strategic ordering of information, and other rhetorical techniques to effectively communicate and influence.</span>”
<strong>How did rhetoric traditionally focus on oral language?</strong>
“<span>Historically, </span><strong>rhetoric</strong><span> focused primarily on oral language, as exemplified by figures like Cicero, emphasizing the use of speech for effective persuasion and public speaking.</span>”
“<strong>What is ““pronunciatio”” in the context of rhetoric?</strong>”
“<span>In rhetoric, </span><strong>pronunciatio</strong><span> refers to the delivery aspect, which includes not only intonation but also nonverbal communication such as body language, facial expressions, and gestures, integral for effective speech delivery.</span>”
<strong>Why should nonverbal features match the content of spoken utterances in rhetoric?</strong>
“<span>Nonverbal features should match the content of spoken utterances to enhance the authenticity and impact of the message. For example, a happy message should ideally be delivered with a happy voice and facial expression to reinforce the sentiment and persuade the audience effectively.</span>”
<strong>Why is nonverbal communication significant in presidential debates?</strong>
“<span>In presidential debates, the </span><strong>importance of nonverbal communication</strong><span> is crucial as current-day politicians are highly aware of its potential impact.<br></br><br></br>use of voice and body language helps convey messages more powerfully and can significantly influence audiences, highlighting the vital role of nonverbal cues in political communication.</span>”
“<strong>Why is nonverbal communication significant in presidential debates?</strong><span></span>”
<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div>In presidential debates, the <strong>importance of nonverbal communication</strong> is crucial as current-day politicians are highly aware of its potential impact. Effective use of voice and body language helps convey messages more powerfully and can significantly influence audiences, highlighting the vital role of nonverbal cues in political communication.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div>
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<strong>What does the statement that nonverbal features account for more than 90% of communication imply, and what are its limitations?</strong>
“<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div>The statement that <strong>nonverbal features account for more than 90% of communication</strong> is popularly derived from Mehrabian’s research on emotion recognition with conflicting cues. <br></br><br></br>However, this claim is often misunderstood as it specifically relates to the communication of <b>feelings and attitudes</b>, not to all types of communication. <br></br><br></br>Moreover, the application of this statistic is <b>limited</b> because people can exhibit <b>contradictory nonverbal cues</b>, such as smiling at a funeral, which do not necessarily reflect their true emotions or intentions.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div><div><div><div><div><div></div><div><div><div><div><div></div></div><br></br></div></div></div></div></div></div></div>”
<strong>Why is the study of nonverbal communication considered a relatively new and paradoxical field?</strong>
<div>The study of <strong>nonverbal communication</strong> is considered relatively new and paradoxical because while there is a<b> strong intuition </b>that nonverbal features significantly influence communication, the actual extent of their impact is only beginning to be understood. Historically, the field has been <b>hampered by a lack of tools to effectively record, measure, or analyze</b> these features.</div>
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<strong>What does multimodality mean in the context of human perception?</strong>
“<strong>Multimodality</strong><span> refers to how our perceptual system integrates information from various sensory modalities such as vision, hearing, touch, and taste.</span>”
<strong>How do different modalities in communication affect our perception of experiences such as dining?</strong>
When we eat in a fancy restaurant a dish can taste differen than when you taste the same dish at home or at a fastfood chain.
What can you say about multimodal communication compared to only spoken communication e.g.
“<strong>Multimodal communication</strong><span> is considered the most natural form of human interaction because it involves multiple sensory modalities. Traditionally, speakers observe their addressees and vice versa,<br></br><br></br></span><div><div><div><div><div><div><div><div><div><div><div><div><div><div><div>spoken communication without visual contact is still relatively rare, underscoring the innate multimodal nature of human communication.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div><div><div><div><div><div></div><div><div><div><div><div></div></div><br></br></div></div></div></div></div></div></div>”
<strong>How do faces and speech interact to affect our perception of spoken language?</strong>
<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div>This visual information from the face significantly influences how we perceive and interpret spoken language, as the coordination of visual and auditory components enhances our understanding and response to communication.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div>
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<strong>What is the ventriloquism effect and how does it influence our perception?</strong>
<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div>The <strong>ventriloquism effect</strong> is a perceptual phenomenon where auditory and visual signals, presented from different locations, are perceived as coming from the same source. The brain links the sound to the visual signal, creating a perception that they are spatially related.<br></br><br></br>This strong effect, which humans can hardly suppress, suggests a form of recalibration by the brain to bridge the difference between visual and auditory locations, enhancing the integration of multimodal stimuli.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div>
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<strong>What is the McGurk effect and how was it discovered?</strong>
<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div>The <strong>McGurk effect</strong> is a perceptual phenomenon where conflicting visual and auditory signals lead to a third, different perception. For example, when a video of <b>someone</b> <b>saying /ga/ </b>is paired with the <b>sound of /ba/,</b> people often<b> hear /da/.</b> <br></br><br></br>This effect was discovered by accident by McGurk and his assistant John MacDonald while researching how children perceive speech and whether they are more responsive to the face or voice of their mother. The McGurk effect illustrates how our perception integrates and sometimes confuses combined sensory inputs.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div>
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<strong>What is the Cocktail Party Phenomenon in the context of speech perception?</strong>
<div>The <strong>Cocktail Party Phenomenon</strong> refers to our ability to focus on one person’s speech in a noisy or crowded environment. This ability highlights how our auditory system can selectively attend to a single source of sound among many distractions, a crucial skill for effective communication in social settings.</div>
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“<strong>How does lipreading contribute to speech perception?</strong><span></span>”
<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><strong>Lipreading</strong> involves interpreting visual cues from the movements of a speaker’s lips, which significantly aid in speech perception, especially in challenging auditory conditions. This visual information can compensate for poor audio quality or background noise, allowing for better understanding of spoken words.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div>
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<strong>What are compensatory effects in communication?</strong>
“<strong>Compensatory effects</strong><span> occur when there is noise or interference in one sensory channel (auditory or visual), prompting the other channel to enhance its input to compensate for the missing or unclear information.</span>”
<strong>How do nonverbal communication skills develop in children?</strong>
“<span>As children grow, they not only enhance their verbal skills such as lexicon, grammar, and pronunciation, but they also become more proficient in using and interpreting </span><strong>nonverbal features</strong><span> like voice tone and body language.</span>”
in which order is the acquisition of nonverbal featurs in childrn?
<ol><li>In the <b>womb</b>: Intonation patterns, rhytm and features of the voicee.</li><li>As <b>young infant</b>: infants learn to imitate facial gesturs lik tongu protrusion and mouth opening.</li><li><b>Infants</b>: quickly learn to integrate information coming from different modalitis.</li></ol>
“<span>How do nonverbal features change as a child grows older?</span>”
“<span>1. As a child grows older, </span><strong>nonverbal features</strong><span> become more </span><strong>functional</strong><span>. <br></br><br></br>2. Children learn to associate specific nonverbal forms, like </span><strong>nodding</strong><span> or </span><strong>higher intonation</strong><span> at the end of a sentence, with particular </span><strong>communicative</strong><span> or </span><strong>social functions</strong><span>. <br></br><br></br>3.This change is due to increasing </span><strong>social awareness</strong><span> and exposure to a </span><strong>varied environment</strong><span> (family, school, society).</span>”
“<span>How do biological and physiological factors influence infants’ intonation and rhythm?</span>”
“<span> </span><strong>Preference for low-ending</strong><span> (lower pitch or frequency) contours is due to </span><strong>air pressure</strong><span> and </span><strong>lung energy</strong><span> decreasing naturally. These factors show that </span><strong>intonation and rhythm</strong><span> are influenced by the </span><strong>innate biological predispositions</strong><span> of infants.</span>”
“<span>How do nonverbal features reveal differences in social awareness among different age groups?</span>”
“<strong>Nonverbal features</strong><span> may reveal differences in </span><strong>social awareness</strong><span> between </span><strong>younger children</strong><span>, </span><strong>older children</strong><span>, and </span><strong>adults</strong><span>. <br></br><br></br>This is a </span><strong>working hypothesis</strong><span> suggesting that as children grow, <i>their use and understanding of nonverbal features evolve</i>, reflecting their increasing social awareness.</span>”
“<span>What evidence suggests a strong genetic, biological basis for nonverbal cues to basic emotions?</span>”
<div> <strong>Work into cues to basic emotions</strong> suggests a strong <strong>genetic, biological basis</strong>:</div>
<ul><li><strong>Baby:</strong> crying when sad</li><li><strong>Dog:</strong> happy when tail moves<br></br><br></br>etc.</li></ul>
<div>What evidence supports the genetic basis for nonverbal expressions, even in blind individuals?</div>
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“<strong>Blind people</strong><span> produce facial expressions similar to those of their family members and to each other, despite lacking visual exposure. This suggests a </span><strong>genetic foundation</strong><span> for nonverbal features.</span>”
“<span>What was the setup of the memory experiment mentioned in the surpris experiment?</span>”
<div> <strong>Participants</strong> are led to believe they are taking part in a memory experiment. The cover story is that the study investigates the <strong>effect of context</strong> and <strong>reading aloud</strong>.</div>
<div><strong>Experiment stages</strong>:</div>
<ol><li>Participants imagine words fitting a specific context (e.g., <strong>organs of the body</strong>).</li><li>They see <strong>10 words</strong> on a screen, shown one by one.</li><li>They <strong>read aloud</strong> the words as soon as they appear.</li><li>They recall as many words as possible afterward.</li></ol>
“<div>What were the two experimental contexts for the word ““liver”” in the surprise experiment?</div>”
“<div>The word ““liver”” appeared in two contexts:</div><ul><li><strong>Normal Context</strong>: organs of the human body</li><li><strong>Surprise Context</strong>: favorite food items for Dutch kids</li></ul><div>This was combined with other questions about <strong>cities</strong>, <strong>pets</strong>, etc.</div><br></br>”
“<span>What was the participant demographic for the surprise experiment?</span>”
“<span>About </span><strong>25 subjects</strong><span> (Dutch) participated in the experiment.</span>”
Wat wordt er bedoeld met verbal en non-verbal/
Verbal = wordy<br></br>Non-verbal = de rest
“Why is body language a thing, but voice language isn’t?”
if voice x language would be a thing, than body language would be sign language.<br></br><br></br>Speech is most of the times intentional communicating while language all different ways of communicating are.
Why is sign language verbal, and body language not?
<div><ul><li>There is a<b> literal translation</b> of expressions/signs, limited things they can refer to, wrong or right) it has “words”</li><li><b>Each sign</b> can be <b>equated</b> to a <b>specific meaning </b>(similar to spoken/written language)</li><li>It is an <b>intentional</b> and <b>structured</b> symbolic body movements that constitute a form of language expression (linguistic nature)</li></ul></div>
“<span>What is the aspects of the </span><strong>conventional pair of form and meaning</strong><span> in linguistics are conventional?</span>”
“<ul><li><strong>Form</strong>: The <b>phonetic</b> or <b>gestural</b> elements of words, such as <i>phonemes</i>, <i>morphemes</i>, or <i>hand movements</i>.<br></br><br></br></li><li><strong>Meaning</strong>: The <b>denotation</b> of a word, which includes <i>objects, actions, or concepts</i> that the word represents, and its syntactic status (how the word functions within the structure of a sentence or phrase).</li></ul>”
“<span>What is meant by </span><strong>denotation</strong><span>?</span>”
“<strong>Denotation</strong><span> is the specific, literal meaning of a word, independent of any emotional or cultural connotations. It refers to what the word directly represents or describes. For example, the denotation of ““to read”” is the action of interpreting written text.</span>”
“<span>What is meant by </span><strong>syntactic status</strong><span>?</span>”
“<span> </span><strong>Syntactic status</strong><span> refers to the role that a word plays within the structure of a sentence or phrase. It defines how a word functions grammatically, such as being a subject, object, verb, or modifier.</span>”
“<span>How do </span><strong>words</strong><span>, </span><strong>signs</strong><span>, and </span><strong>morphemes</strong><span> function differently in language?</span>”
“<div><strong>Words</strong>, <strong>signs</strong>, and <strong>morphemes</strong> function differently across languages to convey meaning:</div><ul><li><strong>Words</strong>: In languages like English, meanings are conveyed through distinct words (e.g., ““read,”” ““reads,”” ““reading””).</li><li><strong>Morphemes</strong>: In languages like Turkish, meanings are conveyed by adding morphemes (smallest units of meaning) to a root word (e.g., root ““ok”” in ““okuma”” for ““read”” and ““okur”” for ““he/she/it reads””).</li><li><strong>Signs</strong>: In sign languages, meanings are conveyed through signs, which have their own grammar and syntax (e.g., Dutch Sign Language is not a direct translation of spoken Dutch).</li></ul>”
<div>What is unique about <strong>morphemes</strong> in Turkish?</div>
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“<div><strong>Turkish</strong> uses <strong>morphemes</strong> to convey(overdragen) meaning:</div><ul><li>Words are formed by adding morphemes to a root.</li><li>Example: The root ““ok”” (read) can become ““okuma”” (to read) or ““okur”” (he/she/it reads).</li><li>This method, known as <b>agglutination</b>, allows a single root to take on various grammatical and semantic roles by adding different morphemes.</li></ul>”
“<strong>English</strong><span> and </span><strong>Turkish</strong><span> differ in their use of words and morphemes:</span>”
“<ul><li><strong>English</strong>: Uses distinct words for different meanings (e.g., ““read,”” ““reads,”” ““reading””).</li><li><strong>Turkish</strong>: Uses morphemes added to a root to convey different meanings (e.g., root ““ok”” for read, ““okuma”” for to read, ““okur”” for he/she/it reads).</li><li>English words <b>change forms less frequently</b> compared to Turkish, which systematically uses morphemes.</li></ul><br></br>”
“<span>What is a </span><strong>morpheme</strong><span>?</span>”
“<span>A </span><strong>morpheme</strong><span> is the smallest unit of meaning in a language. It can be a word or a part of a word (like a prefix or suffix) that cannot be broken down further without losing or altering its meaning. For example, in the word ““unhappiness,”” there are three morphemes: ““un-“” (a prefix meaning ““not””), ““happy”” (the root), and ““-ness”” (a suffix meaning ““state of””).</span>”
What are properties of sign language?
<div>Modalities: different ways of expressing language</div>
<div><ul><li>Sign languages are real languages (<b>own grammar and syntax</b>)! Sign language of the NL (NGT) is not signed Dutch (not a direct translation of spoken language)<br></br><br></br></li><li>Signs are <b>conventional</b> (own vocabulary and rules for expression), not mimicry (nabootsen).</li></ul></div>
“<span>What is Neil Cohn’s view on visual language?</span>”
“<span>According to </span><strong>Neil Cohn</strong><span> from the </span><strong>Visual Language Lab</strong><span>, visual language (e.g., in comics) is also considered a </span><strong>language</strong><span> because language is not restricted to spoken or written forms but can manifest in various </span><strong>modalities</strong><span> .</span>”
“what is the role of modality for ‘verbality’?”
modality does not matter for verbality.
“<span>What are the steps of vocal fold/cord vibration in the speech process?</span>”
<ol><li><strong>Vocal folds closed</strong> at the beginning of the speech process.</li><li><strong>Air pressure from lungs</strong> is generated.</li><li><strong>Vocal folds open</strong> due to lung pressure, allowing air to pass through.</li><li><strong>Pressure released</strong> is influenced by muscle tension and emotional state.</li><li><strong>Vocal folds close</strong> again, and the cycle repeats about 100-300 times per second.</li></ol>
“<span>What determines the pitch of the voice?</span>”
“<span>The </span><strong>frequency</strong><span> of the vocal fold vibrations determines the pitch of the voice; </span><strong>heavier vocal folds</strong><span> result in a </span><strong>lower frequency</strong><span> and </span><strong>lower voice</strong><span>.</span>”
“<span>How does the tenseness of vocal folds affect sound pitch?</span>”
“<strong>Tenser vocal folds</strong><span> produce </span><strong>higher-pitched sounds</strong><span>.</span>”
“<span>How does the size of vocal folds affect their vibration and pitch?</span>”
“<span> </span><strong>Larger vocal folds</strong><span> vibrate more slowly, resulting in a </span><strong>lower frequency</strong><span> and </span><strong>lower voice</strong><span>.</span>”
“<span>What causes variations in vocal fold size?</span>”
“<span>Variations in vocal fold size are due to </span><strong>genetics</strong><span> and </span><strong>hormonal changes</strong><span> during </span><strong>puberty</strong><span>.</span>”
“<span>What non-verbal information affects vocal fold vibration?</span>”
“<span> </span><strong>Tenseness</strong><span> and </span><strong>size</strong><span> of the vocal folds influence their vibration and the pitch of the voice.</span>”
“<span>How does the position of the tongue affect vowel sounds?</span>”
“<span>The position of the </span><strong>tongue</strong><span> changes the </span><strong>resonance of higher frequencies</strong><span>, resulting in different </span><strong>vowels</strong><span>.</span>”
“<span>What is vowel height and how does it affect vowel sounds?</span>”
“<strong>Vowel height</strong><span> refers to how high the tongue is in the mouth, with different heights producing different vowels.</span>”
“<span>What is vowel backness and how does it affect vowel sounds?</span>”
“<strong>Vowel backness</strong><span> refers to the position of the tongue in the mouth (front/back), influencing vowel sounds.</span>”
“<span>How does lip rounding affect vowel sounds?</span>”
“<strong>Lip rounding</strong><span> involves forming the lips in a circle (rounded vowel) or not (unrounded), affecting the sound of vowels.</span>”
“<span>What is vowel tenseness and how does it affect vowel sounds?</span>”
“<strong>Vowel tenseness</strong><span> refers to stressed/tense vowels, which can change the quality of the vowel sound.</span>”
“<span>Wat zijn </span><strong>consonanten</strong><span>?</span>”
“<strong>Consonanten</strong><span> beperken of stoppen de luchtstroom, wat leidt tot hoorbare fricatie of onderbreking.</span>”
“<span>Wat is de </span><strong>plaats van articulatie</strong><span> bij consonanten?</span>”
“<span>De </span><strong>plaats van articulatie</strong><span> verwijst naar waar in het spraakkanaal de luchtstroom wordt beperkt of gestopt om een consonant te produceren.</span>”
“<span>Wat zijn </span><strong>bilabiale</strong><span> consonanten en geef voorbeelden?</span>”
“<strong>Bilabiale</strong><span> consonanten worden geproduceerd met twee lippen, zoals </span><strong>p</strong><span>, </span><strong>b</strong><span>, en </span><strong>m</strong><span>.</span>”
“<span>Wat zijn </span><strong>labiodentale</strong><span> consonanten en geef een voorbeeld?</span>”
“<strong>Labiodentale</strong><span> consonanten worden geproduceerd met lippen en tanden, zoals </span><strong>f</strong><span>.</span>”
“<span>Wat zijn </span><strong>interdentale</strong><span> consonanten en geef een voorbeeld?</span>”
“<strong>Interdentale</strong><span> consonanten worden geproduceerd tussen de tanden, zoals </span><strong>th</strong><span>.</span>”
“<span>Wat zijn </span><strong>alveolaire</strong><span> consonanten en geef voorbeelden?</span>”
“<span> </span><strong>Alveolaire</strong><span> consonanten worden geproduceerd bij de richel achter de tanden, zoals </span><strong>t</strong><span> en </span><strong>d</strong><span>.</span>”
“<span>Wat zijn </span><strong>alveo-palatale</strong><span> consonanten en geef voorbeelden?</span>”
“<strong>Alveo-palatale</strong><span> consonanten worden geproduceerd bij het harde gehemelte, zoals </span><strong>j</strong><span> en </span><strong>y</strong>”
“<span>Wat zijn </span><strong>velare</strong><span> consonanten en geef voorbeelden?</span>”
“<strong>Velare</strong><span> consonanten worden geproduceerd bij het zachte gehemelte, zoals </span><strong>k</strong><span> en </span><strong>ng</strong><span> in ““going”” en ““uncle””.</span>”
“<span>Wat zijn </span><strong>glottale</strong><span> consonanten en geef een voorbeeld?</span>”
“<strong>Glottale</strong><span> consonanten worden geproduceerd in de keel, zoals </span><strong>h</strong><span>.</span>”
“<span>Wat is de </span><strong>wijze van articulatie</strong><span> bij consonanten?</span>”
“<span>De </span><strong>wijze van articulatie</strong><span> beschrijft hoe de luchtstroom wordt gemanipuleerd om hoorbare fricatie of onderbreking te produceren.</span>”
“<span>Wat is een </span><strong>stop</strong><span> of </span><strong>plosief</strong><span>?</span>”
“<span>Een </span><strong>stop</strong><span> of </span><strong>plosief</strong><span> is het blokkeren van het geluid en het vervolgens loslaten.</span>”
“<span>Wat is een </span><strong>fricatief</strong><span>?</span>”
“<span>Een </span><strong>fricatief</strong><span> ontstaat door het vernauwen van de luchtstroom met de tong. Voorbeelden: </span><strong>f</strong><span>, </span><strong>v</strong><span>, </span><strong>s</strong><span>, </span><strong>z</strong><span>.</span>”
“<span>Wat is een </span><strong>affricatief</strong><span>?</span>”
“<span>Een </span><strong>affricatief</strong><span> combineert een orale stop (plosief) en een fricatief. Voorbeelden: </span><strong>tʃ</strong><span> zoals in ““chop””, </span><strong>dʒ</strong><span> zoals in ““judge””.</span>”
“<span>Wat is een </span><strong>liquid</strong><span>?</span>”
“<span>Een </span><strong>liquid</strong><span> laat de luchtstroom over de zijkant van de tong stromen. Voorbeelden: </span><strong>l</strong><span>, </span><strong>r</strong><span>.</span>”
“<span>Wat is een </span><strong>glide</strong><span>?</span>”
“<span>Een </span><strong>glide</strong><span> heeft slechts een milde obstructie en in sommige talen worden deze als klinkers beschouwd. Voorbeelden: </span><strong>w</strong><span>, </span><strong>j</strong><span> zoals in ““yes””.</span>”
“<span>Wat betekent </span><strong>voicedness</strong><span> bij consonanten?</span>”
“<strong>Voicedness</strong><span> verwijst naar het trillen van de stembanden tijdens de productie van een consonant. Voorbeelden: </span><strong>voiced</strong><span> - </span><strong>b</strong><span>, </span><strong>d</strong><span>; </span><strong>voiceless</strong><span> - </span><strong>p</strong><span>, </span><strong>t</strong><span>.</span>”
“<span>Wat is een </span><strong>voiced</strong><span> consonant?</span>”
“<span>Een </span><strong>voiced</strong><span> consonant heeft trillende stembanden. Voorbeelden: </span><strong>b</strong><span>, </span><strong>d</strong><span>, </span><strong>g</strong><span>.</span>”
“<span>Wat is een </span><strong>voiceless</strong><span> consonant?</span>”
“<span>Een </span><strong>voiceless</strong><span> consonant heeft geen trillende stembanden. Voorbeelden: </span><strong>p</strong><span>, </span><strong>t</strong><span>, </span><strong>k</strong><span>.</span>”
“<span>Zijn alle klinkers </span><strong>voiced</strong><span> of </span><strong>voiceless</strong><span>?</span>”
“<span>Alle klinkers zijn per definitie </span><strong>voiced</strong><span>. Voorbeelden: </span><strong>a</strong><span>, </span><strong>e</strong><span>, </span><strong>i</strong><span>, </span><strong>o</strong><span>, </span><strong>u</strong><span>.</span>”
Where can you find the most non-verbal information of <b>speech</b>?
the pitch (a.k.a. intonation)
“<span>What is </span><strong>F0</strong><span> in vocal fold vibration?</span>”
<div><strong>F0</strong> is the fundamental frequency, representing the rate at which the vocal folds vibrate. A lower <strong>F0</strong> corresponds to a lower-pitched voice, while a higher <strong>F0</strong> corresponds to a higher-pitched voice.</div>
<br></br>
“<span>How does </span><strong>pitch</strong><span> relate to vocal fold vibration?</span>”
<div><strong>Pitch</strong> is the perception of the frequency of vocal fold vibrations. <br></br><br></br><ul><li>The faster the vibration (higher <strong>F0</strong>), the higher the pitch;</li><li>the slower the vibration (lower <strong>F0</strong>), the lower the pitch.</li></ul></div>
<br></br>
“<span>What is the significance of </span><strong>F0</strong><span> in voice analysis?</span>”
“<strong>F0</strong><span> is crucial in analyzing voice stress and emotional states. <br></br><br></br>Variations in </span><strong>F0</strong><span> can indicate different stress levels, emotional conditions, and even cognitive loads</span><span><span></span></span>”
“<span>What factors affect the </span><strong>fundamental frequency (F0)</strong><span> of vocal fold vibration?</span>”
“<span>Factors affecting </span><strong>F0</strong><span> include the <br></br><br></br><ul><li><span>tension of the cricothyroid muscle,</span></li><li><span>subglottal pressure,</span></li><li><span>vocal fold length,</span></li><li><span>and thickness of vocal folds.</span></li></ul></span>”
“<span>What are the </span><strong>non-verbal aspects</strong><span> of pitch?</span>”
<div>Non-verbal aspects of pitch include:</div>
<ul><li><strong>Pitch accents</strong>: Indicate new, given, or contrastive information.</li><li><strong>Question/assertion</strong>: Rising pitch at the end indicates a question, while a steady drop indicates an assertion.</li><li><strong>Tone of voice</strong>: Conveys attitudes, emotions, or nuances in the speaker’s intention.</li><li><strong>Emotion</strong>: Pitch variation can indicate the speaker’s emotional state.</li></ul>
“<span>What are the </span><strong>verbal aspects</strong><span> of pitch?</span>”
“<div>Verbal aspects of pitch include:</div><ul><li><strong>Lexical stress</strong>: Emphasis on a particular syllable within a word can change its meaning (e.g., ““to address”” vs. ““an address””).</li><li><strong>Lexical tone</strong>: In some languages, pitch variations differentiate between words (e.g., in Mandarin, ““ma”” means mother only with the correct tone).</li></ul>”
“<span>How do you understand </span><strong>non-verbal aspects</strong><span> of pitch?</span>”
<div><div><div>Understanding non-verbal aspects involves comparing them with other linguistic elements, such as <br></br><br></br><ul><li>the overall mood of the conversation,</li><li>syntactic structure,</li><li>meaning,</li><li>and grammatical elements,</li></ul><br></br>to gain a holistic picture of the intended meaning.<br></br></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div>
<div><div><div><div><div></div><div><div><div><div><div><div></div></div></div><br></br></div></div></div></div></div></div></div>
“<span>What is </span><strong>ELAN</strong><span> used for in non-verbal communication analysis?</span>”
<div><strong>ELAN</strong> is software used to annotate videos by adding explanatory notes or comments. It requires a human annotator and a coding manual, making the process time-consuming and subjective.</div>
<br></br>
“<span>What is </span><strong>OpenFace</strong><span> and its primary focus?</span>”
“<strong>OpenFace</strong><span> is facial recognition software that helps automate the annotation of facial expressions. Its primary focus is on facial expressions, often leaving out other aspects of body language.</span>”
“<span>How is </span><strong>VR</strong><span> used in gesture tracking?</span>”
“<strong>VR</strong><span> and related technologies have gesture trackers that can detect and interpret gestures. However, the interpretation of gestures still often requires human understanding.</span>”
<div>What are some key <strong>body language variables</strong> and their indications?</div>
<br></br>
“<ul><li><strong>Muscle tone</strong>: Indicates emotional states or reactions.</li><li><strong>Distance (</strong><span>proximity between individuals during interaction)</span>: Reflects comfort, intimacy, or conversational dynamics.</li><li><strong>Facial expressions</strong>:<ul><li><strong>Eyebrow position</strong>: Can indicate surprise, skepticism, or interest.</li><li><strong>Mouth shape</strong>: Reflects emotions and verbal articulation.</li></ul></li><li><strong>Gaze/attention</strong>: Indicates interest, focus, or distraction.</li><li><strong>Fidgeting</strong>(small/repetitive movements, often unconsciousness): Reflects discomfort, anxiety, or impatience.</li></ul><div>(Note: The list of body language variables is extensive, and researchers do not universally agree on all aspects.)</div>”
“In which 2 ways<span> does </span><strong>information structure</strong><span> manifest itself?</span>”
<div>Information structure manifests itself in two ways:</div>
<ul><li><strong>Discourse units</strong>: Sentences that belong together are organized into chunks, phrases, and marked by boundaries.</li><li><strong>Distinguishing importance</strong>: Important information is distinguished from unimportant information (accents,<div>prominence, emphasis, etc)</div></li></ul>
“<span>What is </span><strong>prominence marking</strong><span> in speech?</span>”
“<span>Prominence marking uses various cues to highlight or emphasize specific words or elements in a sentence.</span>”
“<span>How do speakers of </span><strong>Germanic languages</strong><span> use prominence marking?</span>”
“<div>Speakers may use pitch accents to signal the importance of words:</div><ul><li><strong>Dutch</strong>: “Ik voel me SERIEUS genomen” vs. “Ik voel me serieus GENOMEN” (people respect me vs. people don’t respect me).</li><li><strong>English</strong>: “The kids had lunch. The boys/BOYS were eating an apple.” (only boys vs. also girls).</li><li><strong>Context</strong>: “No, not the RED button, the BLUE button” (emphasizing the contrast).</li></ul>”
“<span>How do speakers use </span><strong>visual cues</strong><span> to signal prominent information?</span>”
“<span>Speakers signal prominent information through visual cues, such as facial variations. <br></br><br></br><ul><li><span>Rapid eyebrow movements (flashes) can play a similar role as pitch accents in emphasizing important information.</span></li></ul></span>”
“<span>What is the connection between </span><strong>pitch</strong><span> and </span><strong>eyebrow movements</strong><span> in communication?</span>”
<div>There is a close connection between pitch and eyebrow movements, with high/raising notes often synchronized with raised eyebrows.</div>
<br></br>
“<span>Is there a one-to-one mapping between </span><strong>auditory</strong><span> and </span><strong>visual cues</strong><span>?</span>”
<div>No, there is no one-to-one mapping, but speakers prefer to synchronize verbal cues with visual cues. <br></br><br></br>When they align, it <i>enhances</i> clarity and emphasis of the message. When verbal and visual cues don’t align it may create difficulty in communication.</div>
<br></br>
“<span>How do </span><strong>newsreaders</strong><span> align visual and auditory cues?</span>”
“<span>In newsreaders, there is often alignment between visual and auditory cues for prominent information, especially for strong accents, despite speaker variation.</span>”
“<span>How are </span><strong>auditory and visual beats</strong><span> coordinated according to experimental data?</span>”
<div>Experimental data suggest that auditory and visual beats are tightly coordinated. <br></br><br></br>When a speaker <b>produces a visual beat</b> on a word (gesture), some <b>acoustic properties of that word are affected</b>, and the auditory <i>prominence</i> of that word increases.</div>
<br></br>
“<span>What were the key </span><strong>results</strong><span> of the reaction times experiment regarding auditory and visual accents?</span>”
<ul><li><strong>Auditory accent</strong>: The strongest cue for perceived accent, with high correct identification rates (94.2% for Maarten, 94.9% for Maandag, 85.8% for Mali).</li><li><strong>Congruent situations</strong>: Received more responses than incongruent ones.</li><li><strong>Visual accent</strong>: Used when the auditory signal was unclear, indicating reliance on visual information.</li><li><strong>Reaction times</strong>: Incongruencies led to significantly longer reaction times, indicating confusion.</li></ul>
Wat waren de uitkomsten in het onderzoek over visuele en audititeve cues?
<ul><li><b>Congruente stimuli</b> worden s<b>neller verwerkt</b> dan incongruente stimuli.</li><ul><li>Met name voor het eerst en derde woord.</li></ul><li><b>Auditieve</b> nadruk, is de <b>sterkste</b> manier van nadruk.<br></br></li><li>Maar in<b> incongruente situaties</b> werden <b>visuele hints </b>meer belangrijk.</li><li>In incongruente situaties, worden met een visuele nadruk leverde meer reacties op, maar er was ook een langere reactietijd.</li></ul>
“<span>Where are the </span><strong>visual cues</strong><span> for prominence located on the face in the </span><strong>vertical dimension</strong><span>?</span>”
<ul><li><strong>Top</strong>: Rapid eyebrow movements (flashes) may play a similar role as pitch accents.</li><li><strong>Mouth area</strong>: Articulators make more exaggerated movements when a prominent or important word is produced.</li></ul>
<br></br>
“<span>Where are the </span><strong>visual cues</strong><span> for prominence located on the face in the </span><strong>horizontal dimension</strong><span>?</span>”
<ul><li><strong>Perceptual</strong>: Observers are more sensitive to dynamic variations in the left part of the face than the right.</li><li><strong>Acoustic/physical</strong>: There is a significant correlation between F0 (pitch) and the left eyebrow. The left side of the face represents the head better than the right side.</li></ul>
“<span>What did Thompson et al. (2004) find about observers’ sensitivity to facial variations?</span>”
<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><strong>Thompson et al. (2004)</strong> found that observers are more sensitive to <strong>dynamic variation</strong> in the <strong>left part of the face</strong> than the right part.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div></div></div></div></div></div></div></div></div></div>
<div><div><div><div><div></div><div><div><div><div><div><div></div></div></div><br></br></div></div></div></div></div></div></div>
“<span>What conclusions can be drawn from the results of the horizontal dimension study on facial feature recognition?</span>”
<ol><li><strong>Closer distances</strong> improve <strong>recognition accuracy</strong> for facial features.</li><li><strong>Whole face visibility</strong> provides the highest accuracy, followed by <strong>eyes and brows</strong>, with the <strong>mouth area</strong> being the hardest to recognize.</li><li>The <strong>eyes and brows</strong> are more easily recognized at a distance than the mouth area.</li><li>As distance increases, the ability to correctly identify facial features <strong>significantly decreases</strong>.</li></ol>
“<span>What is concluded about the importance of different facial areas for prominence signaling?</span>”
<div><strong>Different facial areas</strong> are not equally important for prominence signaling:</div>
<ul><li><strong>Vertical:</strong> Top is more important than bottom.</li><li><strong>Horizontal:</strong> Left part is more important than right part.</li></ul>
<br></br>
“<span>How do languages differ in terms of their prosody?</span>”
<div>Languages differ in terms of their <strong>prosody</strong> in two main ways:</div>
<ul><li><strong>Prosodic form:</strong> Differences in the timing of <strong>pitch movements</strong>, <strong>pitch range</strong>, <strong>tempo</strong>, etc.</li><li><strong>Prosodic functions:</strong> Differences in the use of <strong>pitch rise</strong> to mark <strong>question intonation</strong>, use of <strong>accent</strong>, etc.</li></ul>
<br></br>
“<span>What are examples of differences in prosodic form?</span>”
<div>Differences in <strong>prosodic form</strong> include:</div>
<ul><li><strong>Timing</strong> of pitch movements</li><li><strong>Pitch range</strong> differences</li><li><strong>Tempo</strong></li></ul>
<br></br>
“<span>What are examples of differences in prosodic functions?</span>”
<div>Differences in <strong>prosodic functions</strong> include:</div>
<ul><li>Use of <strong>pitch rise</strong> to mark <strong>question intonation</strong></li><li>Use of <strong>accent</strong> to indicate emphasis</li></ul>
“<span>What is chunking in prosody?</span>”
“<strong>Chunking</strong><span> in prosody refers to the way speakers group words and phrases into </span><strong>discourse units</strong><span>, making it easier to understand and process spoken language. It involves using prosodic cues like </span><strong>pauses</strong><span>, </span><strong>intonation</strong><span>, and </span><strong>stress</strong><span> to signal the boundaries of these units.</span>”
“<span>What is the difference between plastic and non-plastic languages in terms of accents?</span>”
“<ul><li><strong>Plastic languages</strong><span> are more flexible in moving accents within an utterance, while</span></li><li><strong>non-plastic languages</strong><span> are less flexible.</span></li></ul>”
“<span>How do Germanic and Romance languages differ in their use of accents?</span>”
“<ul><li><strong>Germanic languages</strong><span> (e.g., Dutch, English, German) are generally more flexible (plastic) with accents,</span></li><li>while <strong>Romance languages</strong><span> (e.g., French, Italian, Spanish) are less flexible (non-plastic).</span></li></ul>”
“<span>How are football scores announced differently in English and Italian to reflect the flexibility of accents?</span>”
“<span>n </span><strong>English</strong><span>, football scores are announced with accents that can move within the sentence, e.g., ““Liverpool </span><strong>ONE</strong><span> CHELSEA<b>one</b>.”” In </span><strong>Italian</strong><span>, the accent placement is less flexible, and scores are announced with a more fixed pattern, e.g., ““Rome </span><strong>UNO</strong><span> Juventus <b>UNO</b>.”” This shows that English can emphasize different parts of the sentence more easily than Italian.</span>”
“<span>What </span><strong>compensatory strategies</strong><span> do languages have for accents?</span>”
“<span>Languages may use compensatory strategies such as </span><strong>word order</strong><span> to manage accentuation differences.</span>”
“<span>How is English used in South Africa according to Swerts and Zerbian (2010)?</span>”
<div><strong>English</strong> is used as a <strong>first language (L1)</strong> by a large number of people and as a <strong>lingua franca (L2)</strong> by many who speak different languages as their first language, such as Zulu and various Bantu languages.</div>
<br></br>
“<span>How many speakers participated in the task and what languages did they speak of Zwerts and Serbian?</span>”
<div> <strong>20 speakers</strong> participated:</div>
<ul><li><strong>10 speakers</strong> of L1 English (only English)</li><li><strong>10 speakers</strong> of L1 Zulu (both Zulu and English)</li></ul>
“<span>What task did the study participants perform in the experiment involving English and Zulu speakers?</span>”
“<span>Participants described </span><strong>differently colored objects</strong><span> from left to right, focusing on a </span><strong>red cow</strong><span> that appeared in different contexts (contrasting with preceding color or form, and appearing at the end of the list or not).</span>”
“<span>Wat waren de </span><strong>onderzoeksresultaten</strong><span> van Swerts en Zerbian (2010)?</span>”
“<span>Moedertaalsprekers van Engels in Zuid-Afrika gebruiken intonatie en prosodie anders dan niet-moedertaalsprekers.<br></br><br></br>Niet-moedertaalsprekers, zoals Zulu-sprekers, gebruiken <b>intonatie voornamelijk om continuïteit of finaliteit</b> aan te geven, terwijl moedertaalsprekers <b>ook intonatie gebruiken om focus en positie </b>binnen een lijst aan te geven.</span>”
“<strong>Wat wordt bedoeld met ‘Position’ in de context van de uitspraak?</strong>”
“<strong>Position</strong><span> verwijst naar de vraag of de uitspraak definitief klinkt of niet. Eindzinnen kunnen gemakkelijk worden onderscheiden van niet-eindzinnen in </span><strong>Engels</strong><span> en </span><strong>Zulu</strong><span>.</span>”
<div><strong>How is contrastive emphasis marked in English and Zulu?</strong></div>
<br></br>
“<span>In English (native and fluent L2 speakers), <b>contrastive words </b>are marked <b>by emphatic stress.</b> In Zulu and in the English of less proficient L2 speakers, <b>contrastive word</b>s are NOT marked by <b>emphatic stress.</b></span>”
<strong>What is empathic stress?</strong>
“<strong>Empathic stress</strong><span> refers to the increased emphasis placed on a specific word within a sentence to highlight its importance or convey emotion. This emphasis is often achieved through changes in </span><strong>pitch</strong><span>, </span><strong>loudness</strong><span>, or </span><strong>duration</strong><span> of the stressed word.</span>”
<strong>What are contrastive words?</strong>
“<span> </span><strong>Contrastive words</strong><span> are words that are emphasized to distinguish them from other words or ideas in the same context. This emphasis helps to clarify differences or contrasts between items, such as in the sentence, ““I said the </span><strong>RED</strong><span> car, not the blue one,”” where ““RED”” is the contrastive word.</span>”
<strong>What are the implications of mastering intonation and the use of accents according to the research?</strong>
<ol><li><div><strong>Language learning</strong>: Educational programs should focus not only on <strong>phonology, lexicon, and grammar</strong>, but also on <strong>intonation</strong> and the functional use of accents.<br></br><br></br></div></li><li><div><strong>Sociolinguistic implications</strong>: If someone does not master the <strong>intonational rules</strong> of a specific language or uses the rules differently, they will continue to <strong>sound different</strong> from native speakers.<br></br><br></br></div></li><li><div><strong>Goodness of a speaker</strong>: The difference between <strong>good and bad speakers</strong> can be related to the effective use of <strong>accents</strong>.</div></li></ol>
<strong>What are the key conclusions about prosody in language according Zwerts and Serbian (2010)</strong>
<ol><li><div><strong>Languages can differ</strong> in their functional use of <strong>prosody</strong>, but these differences are related to the kind of function, such as <strong>chunking</strong> vs. <strong>prominence</strong>.<br></br><br></br></div></li><li><div>The <strong>prosodic phenomena</strong> of a first language (<strong>L1</strong>) may transfer to a second language (<strong>L2</strong>), especially when the L2 speakers are less fluent. This transfer is referred to as <strong>prosodic traces</strong>.<br></br><br></br></div></li><li><div>Such <strong>prosodic traces</strong> may have <strong>sociolinguistic implications</strong>, affecting how speakers are perceived and how effectively they communicate in their second language.</div></li></ol>
“<span>What are </span><strong>non-verbal cues</strong><span> that are naturally produced?</span>”
“<span> </span><strong>Non-verbal cues</strong><span> naturally produced include </span><strong>facial expressions, gaze patterns, hand gestures, pointing, posture, and distance.</strong><span> They convey emotions, attitudes, and social signals.</span>”
“<span>What does research involve when studying </span><strong>non-verbal cues</strong><span>?</span>”
“<span>Research involves studying </span><strong>measurements and theory descriptions</strong><span> to understand </span><strong>non-verbal cues.</strong>”
“<span>What is </span><strong>artificial production</strong><span> in the context of non-verbal cues?</span>”
“<strong>Artificial production</strong><span> refers to making </span><strong>symbolic/manual changes</strong><span> (simple) and </span><strong>deep connectionist changes</strong><span> (more complex) in </span><strong>natural speech</strong><span> to see the effects.</span>”
“<span>What does </span><strong>form</strong><span> refer to in the context of prominence types?</span>”
F<strong>orm</strong> refers to the <strong>cue itself</strong> (e.g., <strong>eyebrow raise, pitch raise/contour</strong>) that makes the voice or body language <strong>stand out</strong> and <strong>more noticeable</strong>.<br></br>
“<span>What does </span><strong>meaning</strong><span> refer to in the context of prominence types?</span>”
“<strong>Meaning</strong><span> refers to the </span><strong>function or purpose</strong><span> of the form, particularly how they </span><strong>contribute to prominence</strong><span> and </span><strong>mark specific information</strong><span>.</span>”
“<span>What is </span><strong>Focus</strong><span> in the context of prominence (meaning) types?</span>”
“<div><strong>Focus</strong> refers to a part of the sentence that has <strong>new and prominent information</strong>. For example, in ““Mark is the expert on deception,”” the focus could be on ““Mark”” to highlight him as the expert among alternatives.</div><br></br>”
“<span>Give an example of a sentence with </span><strong>Focus</strong><span> on different words to provide new information.</span>”
<div><strong>Who</strong> was the expert on deception? <strong>Mark</strong> is the expert on deception.</div>
<ul><li><strong>Mark</strong> is the expert on <strong>deception</strong> (as opposed to another field)</li></ul>
“<span>What is </span><strong>Link</strong><span> in the context of prominence (meaning) types?</span>”
“<span> </span><strong>Link</strong><span> refers to information that is not new but is given <b>prominence to highlight</b> </span><strong>common ground</strong><span>.<br></br><br></br>For example,</span>What about Marc? Marc is the expert on deception (Mark is what we all know, the<div>rest of the information (“is the expert on deception”) is new and thus the focus)</div>”
“<span>What is </span><strong>Tail</strong><span> in the context of prominence (meaning) types?</span>”
“<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div><strong>Tail</strong> refers to information that is not new and not prominent, often used for <strong>grammatical completeness</strong>. For example, in responding with a complete sentence: ““Yes, I think Marc is the expert on deception.””</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div><div><div><div><div><div></div><div><div><div><div><div><div></div></div></div><br></br></div></div></div></div></div></div></div>”
“<span>What is the role of </span><strong>pitch contours</strong><span> in emphasizing </span><strong>Focus</strong><span>?</span>”
<div><strong>Focus</strong> is emphasized by placing a <strong>pitch peak (H)</strong> on the stressed syllable, making it stand out or sound more important due to the <strong>higher pitch</strong>.</div>
<br></br>
“<span>How does a </span><strong>Link</strong><span> transition in pitch contours?</span>”
<div>A <strong>Link</strong> involves a pitch pattern where the pitch <strong>lowers</strong> (stretch) and then <strong>rises</strong> (Low*High). This pattern helps to transition smoothly between syllables, creating a distinctive <strong>rhythm and melody</strong> in speech.</div>
<br></br>
“<span>How does </span><strong>speech rate</strong><span> affect prominence in speech?</span>”
“<strong>Speech rate</strong><span> slows down on </span><strong>prominent parts</strong><span> to emphasize or give importance to specific elements in speech.</span>”
“<span>What are </span><strong>speech acts</strong><span> in communication?</span>”
“<strong>Taalhandelingeen.<br></br><br></br>Speech acts</strong><span> are actions performed through </span><strong>speech</strong><span>, such as making statements, asking questions, giving commands, and expressing feelings. They go beyond conveying information to include influencing others and expressing emotions.</span>”
“<span>What is the significance of understanding </span><strong>speech acts</strong><span>?</span>”
“<span>Understanding </span><strong>speech acts</strong><span> helps us interpret the </span><strong>intentions</strong><span> behind what people say and how </span><strong>language shapes our interactions</strong><span>. It reveals the purpose of communication beyond just conveying facts.</span>”
“<span>What is the </span><strong>truth value</strong><span> of </span><strong>speech acts</strong><span>?</span>”
“<div>unlike straightforward statements of fact, speech acts are not easily categorized</div> <div>as true or false. They are more about the performance of an action or the expression of an</div> <div>intention<br></br><br></br>e.g. ““Kun jij niet de suiker aangeven?””, betekent meestal niet dat iemand niet de suiker aan kan geven.</div>”
“<span>What are the main components of </span><strong>prosody</strong><span>?</span>”
“<span>The main components of </span><strong>prosody</strong><span> include </span><strong>pitch rise</strong><span> (component 1) and </span><strong>intensity and pitch</strong><span> (component 2). <br></br><br></br>These elements help convey emotional nuances and emphasis in speech.</span>”
“<span>What does the ability to say things involve in communication?</span>”
<div>The ability to say things involves understanding the <strong>performative nature of speech acts</strong>, analyzing <strong>prosody components</strong> (pitch rise, intensity, and pitch), and recognizing the <strong>intent</strong> or <strong>emotional valence</strong> behind expressions such as <strong>mockery, disbelief,</strong> and various <strong>emotions</strong>.</div>
<br></br>
“<span>How does </span><strong>information structure</strong><span> manifest itself in communication?</span>”
“<strong>Information structure</strong><span> manifests itself in two ways: <br></br><br></br><ol><li><span>by distinguishing </span><strong>important information</strong><span> from unimportant information (accents, prominence, emphasis)</span></li><li><span>by grouping sentences that ““belong together”” into </span><strong>discourse units</strong><span> (chunking, phrasing, boundary marking).</span></li></ol></span>”
“<span>What aspects are covered under distinguishing </span><strong>important information</strong><span> in information structure?</span>”
“<span>Distinguishing </span><strong>important information</strong><span> involves using </span><strong>accents, prominence,</strong><span> and </span><strong>emphasis</strong><span>.</span>”
“<span>What does grouping sentences into </span><strong>discourse units</strong><span> involve in information structure?</span>”
“<span>Grouping sentences into </span><strong>discourse units</strong><span> involves </span><strong>chunking, phrasing,</strong><span> and </span><strong>boundary marking</strong><span>.</span>”
“<span>What is </span><strong>boundary marking</strong><span> in speech?</span>”
“<span>Boundary marking is the practice of speakers marking the end of information units, such as a sentence, phrase, or turn, to indicate a boundary in speech.</span>”
“<span>How do visual cues in text help facilitate the reading process?</span>”
“<span>Visual cues such as </span><strong>punctuation</strong><span> (e.g., full stops, commas), </span><strong>indentation</strong><span>, line breaks, and </span><strong>capitalized words</strong><span> at the beginning of a sentence help visualize the structure of a text and facilitate the reading process.</span>”
<div>What are <strong>local cues and global cues</strong> in speech boundary marking?</div>
<br></br>
“<img></img>”
<div>What is the difference between <strong>local cues</strong> and <strong>global cues</strong> in speech?</div>
<br></br>
<ul><li><strong>Local cues</strong>: Encoded at the very edge of a speech unit</li><li><strong>Global cues</strong>: Stretched over a whole unit</li><li>Global cues allow prediction of upcoming boundaries</li><li>Compare with <strong>turn-taking</strong>: Turn-switches often proceed smoothly without much overlap or delay due to the predictive capacity of prosody</li></ul>
What are auditory cues for boundary marking?
<ul><li><strong>Intonation</strong> (boundary tones, declination)</li><li><strong>Pitch reset</strong></li><li><strong>Durational lengthening</strong> (final word)</li><li><strong>Pauses</strong> (silent or filled pauses)</li><li><strong>Voice quality</strong> (creaky voice)</li></ul>
How can prosodic chunking disambiguate?
“compare it with a mathematical formula:<br></br><br></br>2 + (3x5) means something different than (2+3) x 5.<br></br><br></br>“The man said: the girl is ill” vs “The man, said the girl, is ill”<br></br><br></br>2 different meanings.<br></br><div><div><span>“</span><span>The man</span><span> </span><span>said</span><span>:</span><span> </span><span>the</span><span> </span><span>girl is</span><span> </span><span>ill</span><span>”</span><span> </span><span>vs</span><span> </span><span>“The man,</span><span> </span><span>said</span><span> </span><span>the</span><span> </span><span>girl, is</span><span> </span><span>ill</span><span>”</span></div></div>”
“<span>What is the purpose of the </span><strong>Peps-C programme</strong><span>?</span>”
“<span>The </span><strong>Peps-C programme</strong><span> provides teaching materials to help children learn how to </span><strong>produce</strong><span> or </span><strong>interpret prosody</strong><span>, including skills like </span><strong>chunking</strong><span>.</span>”
“<span>What does the sentence ““Chicken fingers and fries”” illustrate in terms of </span><strong>prosodic chunking</strong><span>?</span>”
“<div><div><div><div><div>The sentence ““Chicken fingers and fries”” illustrates how <strong>prosodic chunking</strong> can affect interpretation. Chunking helps distinguish between the intended meanings, such as (a) <strong>food items</strong> like chicken fingers and fries or (b) a <strong>literal combination</strong> of chickens, fingers, and fries.</div></div></div></div></div><div><div><div><br></br><img></img><br></br><br></br></div></div></div>”
What visual cues can indicate boundaries between speech units?
<ul><li><strong>Gaze behaviour</strong> (Argyle & Cook, 1976)</li><li><strong>Body posture</strong> (Cassell et al. 2001)</li><li><strong>Head nods</strong> (during feedback signalling) (Maynard 1987)</li><li><strong>Eyebrow movements</strong> (Cave et al. 1999</li></ul>
<strong>What does the reaction time experiment suggest about combining different information sources?</strong>
<div>The <strong>reaction time experiment</strong> suggests that combining different information sources (such as <strong>audio and visual signals</strong>) is beneficial when these sources complement each other. When the information from both sources works well together, people can respond faster because the information is easier to process.</div>
<br></br>
<strong>What happens when information sources do not complement each other?</strong>
“<span>When </span><strong>information sources</strong><span> do not complement each other, it can lead to </span><strong>cognitive overload</strong><span>. This means that the brain has to process too much information at once, making it harder to respond quickly and efficiently. As a result, the </span><strong>reaction time</strong><span> becomes longer, and it takes more mental effort to understand the information.</span>”
<strong>What was the general task in the reaction time experiment?</strong>
“<span>he general task in the </span><strong>reaction time experiment</strong><span> was to ““press a designated button as soon as the end of the stimulus is reached.”” This was applied in both the actual experiment with real </span><strong>audiovisual recordings</strong><span> and a baseline condition with stimuli of variable lengths without finality cues.</span>”
<strong>What were the conditions compared in the reaction time experiment?</strong>
“<span>The conditions compared in the </span><strong>reaction time experiment</strong><span> were </span><strong>audiovisual (AV)</strong><span>, </span><strong>audio-only (AO)</strong><span>, and </span><strong>vision-only (VO)</strong><span>. The </span><strong>reaction times</strong><span> were measured in these different modalities to understand the impact of combining audio and visual information.</span>”
<strong>What were the main findings from the reaction time experiment regarding AV stimuli?</strong>
<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div>The main findings from the <strong>reaction time experiment</strong> indicated that <strong>AV stimuli</strong> were the quickest in the actual experiment (with real audiovisual recordings) , while in the baseline condition, AV stimuli were the slowest. This suggests that combining modalities helps when the information sources are <strong>complementary</strong>, but leads to <strong>cognitive overload</strong> when they are not .</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div>
<div><div><div><div><div></div><div><div><div><div><div><div></div></div></div><br></br></div></div></div></div></div></div></div>
<strong>What task were participants asked to perform in the second reaction tim experiment?</strong>
<div>Participants had to <strong>judge</strong> for both <strong>short and long utterances</strong> whether a fragment was <strong>final or not</strong>.</div>
<br></br>
<strong>What was a key finding regarding end-of-utterance classifications in the second experiment?</strong>
“<span>Observers could make the best end-of-utterance classifications for </span><strong>bimodal stimuli</strong><span>; interestingly, the </span><strong>lowest scores</strong><span> were for </span><strong>audio-only (AO) stimuli</strong><span>, despite receiving a lot of attention in the literature.</span>”
<strong>What was found about the ease of judging non-final vs. final fragments?</strong>
“<strong>participants had too choose if a fragment was final or not.<br></br><br></br>Non-final fragments</strong><span> were easier than final fragments. People may be looking for marked features; if these are absent, they choose a default, non-final classification.</span>”
<strong>How did fragment length affect classification in the second experiment?</strong>
<div> <strong>Longer fragments</strong> were easier than shorter fragments, possibly due to longer exposure to cues.</div>
<br></br>
<strong>What was the difference in performance between Audio-Only and Visual-Only stimuli in terms of fragment length?</strong>
“<span>he difference in performance between short and long stimuli was bigger for </span><strong>audio-only (AO) stimuli</strong><span> than for </span><strong>vision-only (VO) stimuli</strong><span>. Results for short and long stimuli were very similar in vision-only conditions.</span>”
<strong>What is a possible explanation for the performance difference between Audio-Only and Visual-Only stimuli?</strong>
<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div>The existence of more <strong>global auditory cues</strong> (such as declination), whereas visual cues are more <strong>locally encoded</strong>.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div>
<div><div><div><div><div></div><div><div><div><div><div><div></div></div></div><br></br></div></div></div></div></div></div></div>
<strong>How do people manage their turns in a conversation?</strong>
<div>People take turns: while <strong>person A</strong> is producing speech, <strong>person B</strong> remains silent until it is his/her turn to start talking.</div>
<br></br>
<strong>What regulates the switch between speakers in a conversation?</strong>
“<span>The switch between speakers is regulated through a </span><strong>turn-taking mechanism</strong><span>.<br></br><br></br></span>”
“<span>What does smooth interaction in conversation often involve?</span>”
“<span>Smooth interaction involves </span><strong>switching turns smoothly</strong><span>, with minimal </span><strong>overlap in speech</strong><span> and only a few </span><strong>milliseconds delay</strong><span> between turns.</span>”
“<span>What kind of cues speakers and addressees rely on to predict appropriate turn-taking opportunities?</span>”
“<span>They rely on specific </span><strong>cues</strong><span> that can be </span><strong>lexical</strong><span>, </span><strong>syntactic</strong><span>, </span><strong>auditory</strong><span>, or </span><strong>visual</strong><span>.</span>”
“<span>What is the difference between true turns and minor backchannels in conversation?</span>”
“<ul><li><strong>True turns</strong><span> involve active contributions with substantial information, while</span></li><li><span></span><strong>minor backchannels</strong><span> are minimal responses indicating engagement, like nodding or saying ““uhuh””.</span></li></ul>”
“<span>To what extent can backchannel opportunity points be predicted?</span>”
“<div>Backchannel opportunity points can be <strong>predicted</strong> to some extent by identifying specific <strong>cues</strong> in the conversation that indicate a speaker’s willingness to listen or their need for a response.</div>”
“<span>What specific issues arise in predicting backchannel opportunity points?</span>”
<div>The specific issues include:</div>
<ul><li><strong>Variation between individuals</strong>: How much individuals differ in their use of backchannels.</li><li><strong>Implementation in synthetic characters (avatars)</strong>: Whether this behavior can be effectively programmed into avatars to mimic natural human interactions.</li></ul>
“<span>How can the implementation of backchannel behavior in animated characters improve computer systems?</span>”
“<span>The implementation can lead to an </span><strong>improved naturalness</strong><span> of computer systems, making interactions feel more human-like and intuitive.</span>”
“<span>What is the research of Blomsma and colleagues based on?</span>”
<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div>Their research is based on the <strong>o-cam paradigm</strong>, which involves participants interacting with what they believe is a live person but is actually a pre-recorded session to study backchannel behavior.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div>
<div><div><div><div><div></div><div><div><div><div><div><div></div></div></div><br></br></div></div></div></div></div></div></div>
<div>What is the basic concept of the <strong>O-cam paradigm</strong> in experiments?</div>
<br></br>
“<span>he </span><strong>O-cam paradigm</strong><span> involves participants interacting via an online session (like Skype or Zoom) where they believe they are seeing a live person. However, they are actually viewing a recording of a confederate. <br></br><br></br>This illusion is created through a scripted introduction, and the participants’ task is to guess which of four similar tangram figures the other person is describing.</span>”
“<span>How was the </span><strong>O-cam paradigm</strong><span> experiment conducted?</span>”
“<span>The </span><strong>O-cam paradigm</strong><span> experiment involved 14 participants who believed they were in a live interaction. They played several rounds, resulting in 6 minutes and 15 seconds of interaction each. The study identified 53 Backchannel Opportunity Points (BOPs) via 10 observers. It was evident that participants varied in their feedback behaviors.</span>”
<div>What measurements were taken in the <strong>O-cam paradigm</strong> experiment?</div>
<br></br>
<div><div><div><div><div><div><div><div><div><div><div><div><div><div><div>Participants were rated on perceived personality traits (Friendliness, Extraversion, Activeness, Dominance) using 6-point scales. Their behaviors were analyzed based on auditory and visual features, which significantly correlated with personality impressions.</div></div></div></div></div><div><div><div><div></div></div></div></div><div></div></div><div><div></div></div></div></div></div></div></div></div></div></div></div>
<div><div><div><div><div></div><div><div><div><div><div><div></div></div></div><br></br></div></div></div></div></div></div></div>
“<span>What was discovered about the relationship between behavioral measures and personality impressions in the </span><strong>O-cam paradigm</strong><span> experiment?</span>”
“<span>The study found that behavioral measures, which included auditory and visual features, <b>correlated significantly with perceived personality traits</b>. These measures appeared to be strongly related to impressions of personality, such as Friendliness, Extraversion, Activeness, and Dominance.</span>”
“<span>How were the behaviors of human subjects used in animations in the </span><strong>O-cam paradigm</strong><span>?</span>”
“<span>The behaviors of human subjects were implemented into an animated character, including both visual and auditory features. A second experiment revealed that different feedback behaviors led to different impressions of the avatar’s personality.</span>”
“<span>What are the potential uses of implementing human behaviors into animated characters?</span>”
“<span>Implementing human behaviors into animated characters can generate different personalities for machines, aid in developing user-specific adaptive systems, help train communicatively deprived individuals <br></br><br></br>(e.g., people with autism or blind people), and improve ““rapport”” between conversation partners through effective feedback signaling.</span>”
“<span>What is Parallel Wavenet by Deepmind (now Google)?</span>”
“<span>Parallel Wavenet directly models the raw audio signal by predicting one sample at a time, conditioned on the previous samples and relevant context.</span>”
“<span>What are the capabilities of </span><strong>Parallel Wavenet</strong><span> in speech synthesis?</span>”
“<span>It can produce </span><strong>highly realistic and natural-sounding speech</strong><span> and is successful in capturing the </span><strong>nuances of the human voice</strong><span> and generating </span><strong>high-fidelity audio</strong><span>.</span>”
“<span>What is </span><strong>speech synthesis</strong><span>?</span>”
“<span> </span><strong>Speech synthesis</strong><span> is the artificial production of </span><strong>human speech</strong><span>. It converts written text into </span><strong>spoken words</strong><span> using computer algorithms. This technology is used in various applications, such as </span><strong>virtual assistants</strong><span>, </span><strong>navigation systems</strong><span>, and </span><strong>accessibility tools</strong><span> for visually impaired individuals.</span>”
“<span>What advancements in speech synthesis were made in 2024?</span>”
“<span>In 2024, </span><strong>Wavenet</strong><span> continued to be used, but </span><strong>Tacotron 2.0</strong><span> also became prominent, showcasing the dynamic nature of advancements in the field.</span>”
“<span>In 2024, </span><strong>Wavenet</strong><span> continued to be used, but </span><strong>Tacotron 2.0</strong><span> also became prominent, showcasing the dynamic nature of advancements in the field.</span>”
“<span>Tacotron 2.0 consists of an </span><strong>encoder</strong><span> and a </span><strong>decoder</strong><span>. The encoder processes the input text and converts it into a fixed-size </span><strong>context vector (</strong><span>which is a numerical representation of the text.)</span><span>, while the decoder generates </span><strong>mel-spectrograms</strong><span> representing the speech features.</span>”
“<span>How does </span><strong>Tacotron 2.0</strong><span> improve speech synthesis?</span>”
“<span>Tacotron 2.0 provides a </span><strong>holistic approach</strong><span> to speech synthesis, allowing for direct modeling of the </span><strong>text-to-speech</strong><span> conversion process. It enables flexibility in controlling various aspects of speech synthesis, such as </span><strong>prosody</strong><span> and </span><strong>speaking style</strong><span>.</span>”
<div>What limitation does Parallel Wavenet have in terms of controlling speech synthesis aspects?</div>
<br></br>
<div><strong>Parallel Wavenet</strong> excels in producing <strong>natural speech</strong> but may have <strong>limited control</strong> over specific aspects like <strong>prosody</strong> and <strong>speaking style</strong>.</div>
<br></br>
“<span>What are mel-spectrograms in the context of Tacotron 2.0?</span>”
“<strong>Mel-spectrograms</strong><span> are representations of </span><strong>speech features</strong><span> used by the </span><strong>decoder</strong><span> in </span><strong>Tacotron 2.0</strong><span> to generate the sound output.</span>”
<div>What is the trend in modern speech synthesis models?</div>
<br></br>
“<span>The trend is towards </span><strong>end-to-end models</strong><span>. These models are trained to predict the </span><strong>next part of speech</strong><span> from the given speech. This makes the models good enough to allow for </span><strong>fine-tuning</strong><span>.</span>”
