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Test #3 Flashcards

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1
Q

What type of waveform best represents a human voice?

A
  • semiperiodic
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2
Q

Name 2 types of variations or perturbations that can exist between cycles in the human voice.

A
  • jitter

- shimmer

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3
Q

Describe what happens when the human voice produces a “jitter.”

A
  • there is a variation in fundamental frequency from one cycle to the next
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4
Q

Describe what happens when the human voice produces a “shimmer.”

A
  • there is a variation in amplitude from one cycle to the next
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5
Q

In regards to sining, what are 2 types of vocal registers?

A
  1. chest voice

2. falsetto

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6
Q

In regards to a speaking voice, what are 3 types of vocal registers?

A
  1. pulse
  2. modal
  3. falsetto
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7
Q

List 3 different types of pulse voices.

A
  1. vocal fry
  2. glottal fry
  3. creaky voice
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8
Q

How is a phonation type heard?

A
  • it is heard as a voice quality
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9
Q

What are the 3 main phonation types in speech?

A
  1. Breathy
  2. Modal
  3. Creaky
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10
Q

Which phonation type is considered normal?

A
  • modal
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11
Q

How are phonation types differentiated?

A
  • by open quotient
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12
Q

What is an open quotient?

A
  • it is the proportion of time vocal folds are open during each glottal cycle
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13
Q

List 3 terms that could be used to describe abnormal voice quality.

A
  1. breathiness
  2. roughness
  3. hoarseness
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14
Q

What is important to know when terming voice qualities?

A
  • terms are subjective and difficult to assign to a physiological state of vocal fold vibration
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15
Q

List 4 more of the several terms used to describe voice quality,

A
  1. pleasant
  2. strident
  3. rough
  4. raspy
  5. shrill
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16
Q

While reading a spectogram, if one were to produce the /i/ vowel under four different conditions described as breathy, normal, harsh, and hoarse, what would happen to the relative spacing of the formants? What would change?

A
  • the relative spacing of the formants would stay the same while the signal source would change.
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17
Q

What does voice quality reflect?

A
  • the manner in which the vocal folds are vibrating
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18
Q

In regards to the myoelastic aerodynamic theory, what results from hypo-adduction and hyper-adduction?

A
  • both hyperadduction and hypoaduction will affect balance between muscular and aerodynamic forces.
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19
Q

In 1998, Zemlin established 6 paramaters of voice production. What are they?

A
  1. maximum frequency range
  2. speaking fundamental frequency SFF (habitual pitch)
  3. Maximum phonation time for (adults 15 - 25 sec & children at least 10 sec)
  4. minimum-maximum intensity at various fundamental frequency levels
  5. periodicity of vocal fold vibration
  6. Noise from turbulent airflow (breathiness, hoarseness, roughness)
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20
Q

What is SFF?

A
  • speaking fundamental frequency
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21
Q

What is habitual pitch?

A
  • central tendency of pitch, or fundamental frequency, most often used by a person in speaking
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22
Q

What is the maximum phonation time for adults?

A
  • 15 to 25 secs
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23
Q

What is the maximum phonation time for children?

A
  • at least 10 seconds
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24
Q

What are 3 different terms that could be used to describe noise from turbulent flow?

A
  1. breathiness
  2. hoarseness
  3. roughness
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25
Q

What can be heard when a breathy voice is produced?

A
  1. air escaping in aspirated sounds
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26
Q

What can happen if there is an incomplete closure of vocal folds?

A
  • it can cause air to leak continuously throughout phonation
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27
Q

What happens as a result of air leaking continuously throughout phonation?

A
  • intensity range is reduced

- more air is used than normal in phonation

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28
Q

Are vocal folds working efficiently if there is an incomplete closure of the vocal folds resulting in a reduction of intensity?

A
  • no, this is inefficient
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29
Q

List 3 acoustic signal characteristics of a breathy voice.

A
  1. less periodic
  2. more high-frequency noise (above 5kHz)
  3. loss of energy between 2 to 5 kHz
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30
Q

Does a breathy voice increase or decrease with age?

A
  • increases
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31
Q

Is a breathy voice more common in males or females?

A
  • females
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32
Q

List 4 characteristics of a breathy voice.

A
  1. can hear air escape; sounds aspirated
  2. incomplete closure of vocal cords causes air to leak continuously during phonation
  3. embodies specific acoustic signal properties
  4. increases with age; tends to be higher in females
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33
Q

How do rough or hoarse voices sound?

A
  • they sound raspy with a perception of a low pitch
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34
Q

How would you describe a hoarse voice?

A
  • it is a combination of breathy and rough
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35
Q

What are the acoustic signal characteristics of a rough or hoarse voice?

A
  • larger amount of spectral noise at lower frequencies (100 to 2600Hz) frequencies
  • decreased periodic VF vibration
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36
Q

When analyzing a voice with a jitter, what would you notice about the periods of the waveform?

A
  • the times of different cycles would vary

- the periods are more randomly spaced

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37
Q

What does HNR stand for?

A
  • harmonics to noise ratio
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38
Q

What is an harmonics to noise ratio?

A
  • it is a way to measure how periodic a voice is
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39
Q

What does an HNR compare?

A
  • it compares amplitude of harmonics to amplitude of noise in a signal
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40
Q

What types of voices have a high HNR?

A
  • highly periodic voices
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41
Q

What types of voices have a low HNR?

A
  • more noisy, less periodic voices
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42
Q

Be sure to review HNR in Praat slide - 1st set

A

Be sure to review HNR in Praat slide - 1st set

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43
Q

Be sure to review slide 6 in 1st set of slides.

A

Be sure to review slide 6 in 1st set of slides.

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44
Q

Where is the larynx located in a homo sapien compared to where it is located the ancestral species known as homo erectus.

A
  • the location of the larynx is much lower in homo spiens
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45
Q

What is the tradeoff in the lower positioning of the homo sapiens larynx?

A
  • homo sapiens can produce more sounds but there is an increased danger in choking
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46
Q

What 3 areas make up the vocal tract?

A
  1. pharynx
  2. oral cavity
  3. nasal cavity
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47
Q

What parts of the pharynx, oral cavity, and nasal cavity allow the vocal tract to change shape?

A
  1. tongue
  2. lips
  3. jaw
  4. velum
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48
Q

What does the vocal tract’s ability to change shape do for speech production?

A
  • allows for a variety of speech sounds to be produced in the human vocal tract
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49
Q

What type of resonator is the human vocal tract?

A
  • quarter-wave resonator
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50
Q

Why is the human vocal tract a quarter-wave resonator?

A
  • because it has one closed end and one open end
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51
Q

What end of the vocal tract is closed?

A
  • the glottis
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52
Q

What end of the vocal tract is open?

A
  • the lips
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53
Q

How would you describe the cavities of the vocal tract?

A
  • as series of air-filled containers
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54
Q

What does each cavity act like in the vocal tract?

A
  • they each act as band-pass filters
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55
Q

What does each band pass filter have of it’s own?

A
  • they each have their own RF
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56
Q

Once all cavities are connected in the vocal tract, what results?

A
  • an overall RF difference
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57
Q

What results from the irregular shape of the vocal tract?

A
  • a broadly tune responator
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58
Q

What qualifies the vocal tract to be a broadly tuned resonator?

A
  • it transmits a wide range of frequencies around each RF
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59
Q

What does RF stand for?

A
  • resonating frequency
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60
Q

What are the RFs of the vocal tract called?

A
  • formants
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61
Q

What does a frequency response change depend on?

A
  • the shape of its resonator
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62
Q

Be sure to review modal of vocal tracts and the acoustic spectrum match.

A

Be sure to review modal of vocal tracts and the acoustic spectrum match.

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63
Q

Describe the source-filter theory.

A
  • the vocal tract acts as an acoustic filter, which modifies the sound by a sound source
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64
Q

What is another name for the source-filter theory?

A
  • the acoustic theory of speech production
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65
Q

What does an acoustic filter do?

A
  • it filters out certain frequencies of complex sounds while allowing other frequencies to pass through
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66
Q

What are complex sounds composed of?

A
  • sine waves of more than one frequency
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67
Q

What does a filter reduce?

A
  • the amplitude of one or more component sine waves
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68
Q

What is an acoustic source?

A
  • a source of sound energy
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69
Q

What are 3 acoustic sources for speech?

A
  1. vocal fold vibration
  2. turbulent noise in the SLVT
  3. a combination of these 2 sound sources
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70
Q

What does the glottal source produce?

A
  • a complex periodic wave
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71
Q

What does the complex periodic wave have an infinite number of?

A
  • sinusoidal componants
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72
Q

What mathematical pattern can you notice in the infinite number of sinusoidal components?

A
  • all are integer multiples of fundamental frequencies
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73
Q

What can you assume when a sinusoidal component is expressed in integer multiples of a fundamental frequency?

A
  • the wave is periodic
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74
Q

What do periodic complex waves always have?

A
  • a harmonic structure
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75
Q

What characteristic does every component sinusoid have?

A
  • it is an integer multiple of fundamental frequency
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76
Q

Define fundamental frequency in a harmonic structure.

A
  • it is the lowest frequency sinusoid
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77
Q

What are component sinusoids often referred to as?

A
  • harmonics
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78
Q

What are harmonics identified by?

A
  • numbers from lowest to highest frequency
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79
Q

Fo =

A

H1

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80
Q

What kind of structure does the glottal source have?

A
  • a harmonic structure
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81
Q

As harmonic amplitude decreases, what happens to frequency?

A
  • frequency increases
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82
Q

Do harmonics above 10,000 Hz make a big contribution to speech perception?

A
  • NO
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83
Q

What is the function of the SLVT?

A
  • filters the sound of the vocal fold vibration
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84
Q

What 2 things do SLVT filters change?

A
  1. the amplitude of various sinusoids (harmonics)

2. the quality of the sound

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85
Q

By changing the shape of the SLVT what can happen to a complex wave?

A
  • the same complex wave can be changed into different speech sounds
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86
Q

What does wavelength determine?

A
  • which harmonics are filtered out by SLVT
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87
Q

What is wavelength?

A
  • the physical distance traveled during one cycle
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88
Q

What can be determined from the fact that each harmonic in a complex sound has a different frequency?

A
  • each harmonic has a different wavelength
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89
Q

As frequency gets higher, what happens to the wavelength?

A
  • the wavelength gets shorter
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90
Q

As vocal tract length changes, what happens to different harmonics?

A
  • they fit into the resonating chambers
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91
Q

What happens to harmonics that fit best within its best matched chamber?

A
  • they will gain amplitude and resonate
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92
Q

What happens to harmonics that do not fit within its best matched chamber?

A
  • they will decrease in amplitude and filter out
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93
Q

What analogy can be used when describing how a harmonic “fits” into a vocal tract.

A
  • the dad pushing a baby on a swing represents the lips, the baby on a swing represents the pressure wave, and the mom pushing the baby on the swing represents the glottis
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94
Q

How will a sinusoid fit into a neutral-shaped vocal tract?

A
  • if there is pressure maximum at the glottis when there is a zero crossing at the lips
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95
Q

What happens when a sinusoid’s wavelength fits into a vocal tract?

A
  • it forms a standing wave
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96
Q

When a sinusoid forms into a standing wave, what does this occur from?

A
  • the echo (reflection) of the sounds in the vocal tract
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97
Q

How would you describe amplitude when comparing a standing wave with its original sinusoid?

A
  • the standing waves amplitude is higher than its original sinusoid
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98
Q

In regards to speech, what is a sound source most often produced by?

A
  • vocal fold vibration
99
Q

What does the glottal source produce?

A
  • a complex periodic waveform
100
Q

What does SLVT stand for?

A
  • super laryngeal vocal tract (above the glottis)
101
Q

What does the SLVT filter?

A
  • the sound produced by the source (vocal folds)
102
Q

What will a harmonic due depending on whether or not it fits into a vocal tract?

A
  • it will either resonate or lose amplitude
103
Q

What differences can different shapes of vocal tracts have?

A
  • different resonant frequencies

- produce different sounds

104
Q

What kind of sounds does a relatively open vocal tract produce?

A
  • vowels

- resonant consanants

105
Q

What are resonant sounds typically produced with?

A
  • phonation (VF vibration)
106
Q

What do disordered speakers have in the SLVT?

A
  • a noise source
107
Q

What to non-disordered speakers lack that disordered speakers have in the SLVT?

A
  • noise source in the SLVT
108
Q

What are resonant sounds characterized by?

A
  • the 1st 3 formants
109
Q

What are the first 3 formants somewhat like?

A
  • musical chords
110
Q

What do actual frequencies depend on?

A
  • partly on speaker anatomy
111
Q

T or F? Most people cannot perceive individual formants?

A

TRUE

112
Q

What do we perceive instead of individual formants?

A
  • we perceive the sound as an indivisible unit
113
Q

Know how to read formants.

A

Know how to read formants.

114
Q

What do you need to find in order to measure resonant sounds?

A
  • the center frequency of F1, F2, and F3
115
Q

What axis is frequency represented on when analyzing resonant sounds?

A
  • frequency is on the left vertical axis
116
Q

What are formant frequencies determined by?

A
  • the length of the speaker’s vocal tract

- the size and shape of vocal tract cavities

117
Q

Essentially, formant frequencies are independent of what?

A
  • the rate of vocal fold vibration
118
Q

A speaker can change Fo without affecting what?

A
  • sound quality
119
Q

A speaker can change sound quality without affecting what?

A
  • Fo
120
Q

What does a low F1 indicate?

A
  • a constriction in the oral cavity resulting in a large pharynx
121
Q

What kind of vowel does a low F1 indicate?

A
  • high vowels
122
Q

What does a high F1 indicate?

A
  • a constriction in the pharynx resulting in a small pharynx
123
Q

What kind of vowel does a high F1 indicate?

A
  • low vowel
124
Q

Finish the phrase in regards to F1. “The larger the cavity, the……

A
  • lower the frequency at which it resonates
125
Q

In general, what does F1 frequency depend on?

A
  • pharynx size
126
Q

What does a low F2 indicate?

A
  • a constriction at the back of the oral cavity resulting in a larger oral cavity
127
Q

What type of vowel does a low F2 indicate?

A
  • back vowels
128
Q

What does a high F2 indicate?

A
  • a constriction at the front of the oral cavity resulting in a smaller oral cavity
129
Q

What type of vowel does a high F2 indicate?

A
  • front vowel
130
Q

Finish the phrase in regards to F2. “The smaller the cavity…..”

A
  • the higher the frequency at which it resonates
131
Q

In general, what does F2 frequency depend on?

A
  • oral cavity size
132
Q

How does lip rounding affect the frequency of the formants?

A
  • it lowers them
133
Q

Finish the phrase in regards to the effects of lip rounding. “The more rounded and the greater the constriction of lips…..”

A
  • the more the formants are lowered
134
Q

What does lip rounding do to the vocal tract and how does this affect resonant frequencies?

A
  • it lengthens the vocal tract and it lowers the resonant qualties
135
Q

How would you compare the effects of lip constriction to lip rounding in regards to how it affects the formant frequency.

A
  • lip rounding has separate effects than lip rounding but they are equally important
136
Q

How are vowel tokes compared?

A
  • by graphing the frequency of F1 and F2
137
Q

Where is F1 plotted?

A
  • on the horizontal axis
138
Q

Where is F2 plotted?

A
  • on the vertical axis
139
Q

What does plotting F1 and F2 allow us to see?

A
  • a comparison of many different vowel tokens
140
Q

What characteristics do dipthongs change during production?

A
  • resonant characteristics
141
Q

What are the changes in resonant characteristics as a result of dipthongs referred to as?

A
  • formant transitions
142
Q

What are /w/ and /j/ extreme version of?

A

/u/ and /i/

143
Q

Which glide’s F1 and F2 may be even lower than /u/?

A

/w/

144
Q

Which glide’s F2 may be higher than /i/?

A

/j/

145
Q

What happens as the vocal tract becomes more constricted?

A
  • the amplitude drops
146
Q

Which sounds have less amplitude than vowels?

A

/w/ and /j/

147
Q

How are the liquids, /l/ and /r/ similar to the glides?

A
  • they require a tighter constriction than vowels
148
Q

Since liquids have require a tighter constriction than vowels? What results from this?

A
  • the liquids are lower in amplitude compared to vowels
149
Q

What are formant values for /l/ similar to?

A
  • similar to formant values for /o/ in some environments
150
Q

What is /l/ sometimes mistaken for by young children?

A

/o/

151
Q

Why is the /l/ often called a lateral?

A
  • b/c the tip of the tongue touches the alveolar ridge and air flows along both sides of the tongue
152
Q

What does the configuration of a lateral often produce?

A
  • “zeros” or “anit-resonances”
153
Q

How are anti-resonances similar to anti-matter?

A
  • anti-resonances cancel out resonances
154
Q

When do formants above F1 often vanish?

A
  • when /l/ is articulated
155
Q

When does amplitude drop on a spectogram?

A
  • when the tongue touches the alveolar ridge
156
Q

Why does amplitude drop on a spectogram when the tongue touches the alveolar ridge?

A
  • this is because of the presence of zeros
157
Q

What is a very difficult sound to produce in the English language?

A

/r/

158
Q

What is /r/’s most important acoustic characteristic?

A
  • a low F3 frequency
159
Q

Is it usual for F3 to be the most important acoustic cue to a sound?

A
  • NO, it is extremely unusual
160
Q

What is a reasonable explanation for why it is so difficult for foreign speakers and some children to figure out how to articulate /r/?

A
  • because it is unusual for /r/ to be the most important acoustic cue to a sound
161
Q

How can any formant be lowered?

A
  • by creating constrictions at its antinodes
162
Q

How many antinodes does F3 have?

A
  • 3
163
Q

For English, /r/ where are the typical anatomical points of constriction?

A
  • lips
  • palate
  • pharynx
164
Q

What do nasal sounds require for production?

A
  • a complete blockage of the oral cavity and an open velum

- air to only flow through the nose

165
Q

Is the nasal cavity large or small in comparison to the pharynx and nasal cavity?

A
  • large
166
Q

What results from the fact that the nasal cavity is larger than the pharynx and nasal cavity?

A
  • the nasal cavity produces a low resonant frequency
167
Q

What does the resonance from the nasal cavity produce?

A
  • “nasal formants”
168
Q

During nasal articulation what kind of analogy can be used to describe the oral cavity?

A
  • a dead end street
169
Q

What does the division in the resonating cavities produce?

A
  • zeros or anti-formants
170
Q

What do zeros reduce?

A
  • the amplitude of nearby formant
171
Q

What are resonant sounds characterized by?

A
  • their formant frequencies
172
Q

What do resonant sounds always have?

A
  • formant structure
173
Q

What do obstruent sounds lack that formant resonant sounds have?

A
  • formant structure
174
Q

What are formant frequencies determined by?

A
  • resonant cavity size and shape
175
Q

What do nasal and liquid sounds often have?

A

anti-formants as well as formants

176
Q

Do the formants in nasal and liquid sounds tend to be higher or lower in amplitude when compared to the anti-formants?

A
  • lower in amplitude
177
Q

O What is the 1st step of stop articulation? What happens as a result?

A
  1. airflow is blocked as the articulators move into position very quickly
    (the formant transitions)
178
Q

O What is the 2nd step of stop articulation? What happens as a result?

A
  1. Air pressure is built up (silence during closure)
179
Q

O What is the 3rd step of stop articulation?

A
  1. release of air pressure (burst of air and formant transitions when articulators move)
180
Q

O What are 3 acoustic cues to stops?

A
  1. silence
  2. voice onset time
  3. fast formant transitions
181
Q

O What is happening during the acoustic cue of silence?

A
  • airflow is blocked
182
Q

O What is V.O.T.?

A
  • the time from the release of closure to the onset of voicing
183
Q

0 What occurs when the closure is released during V.O.T.?

A

burst occurs

184
Q

0 What might follow the burst after the closure is released during V.O.T.?

A
  • may be followed by aspiration
185
Q

O What is known as an important cue to stop manner of articulation?

A
  • a silent gap aka closure
186
Q

O If a silent gap is not visible what is probably being produced?

A
  • a flap
187
Q

O What happens when a silent gap lengthens?

A
  • when 2 stops occur in succession

i. e. bacK Door, fiCTitious

188
Q

O What is V.O.T. an important cue for?

A
  • to stop voicing
189
Q

O What has longer VOTs, voiced or voiceless stops?

A
  • voiceless stops
190
Q

O What do V.O.T.s also provide?

A
  • a cue to PLACE of articulation
191
Q

O When do V.O.T.s get longer?

A
  • as we go from front to back of the mouth
192
Q

O What are burst characteristics important cue to?

A
  • place of articulation
193
Q

O What does spectrum equal?

A

Spectrum = amplitude x frequency

194
Q

O What is burst energy in bilabials?

A
  • “diffuse falling”
195
Q

O What is burst energy in alveolars?

A

“diffuse rising”

196
Q

O What is burst energy in velars?

A

“compact”

i.e. concentrated in one area, near F2 and F3

197
Q

O When do formant transitions occur?

A
  • when articulators are moving
198
Q

O When are formant transitions more clearly visible?

A
  • when stop is voiced
199
Q

O What is the direction formant movement a cue for?

A
  • place of articulation
200
Q

O List 3 “classic” formant transitions.

A
  1. bilabials
  2. alveolars
  3. velars
201
Q

O Describe the “classic” formant transition of a bilabial.

A
  • formants move down as you move toward the consonant
202
Q

O Describe the “classic” formant transition of an alveolar.

A
  • F2 points to a frequency of about 1800 Hz
203
Q

O Describe the “classic” formant transition of a velar.

A
  • F2 and F3 tend to come together in a “pinch”
204
Q

O Summarize place cues in stops by describing formant transitions in bilabials.

A
  • all formants are down
205
Q

O Summarize place cues in stops by describing formant transitions in alveolars.

A
  • F2 is pointing towards 188 Hz
206
Q

O Summarize place cues in stops by describing formant transitions in velars.

A
  • F2 and F3 come together in a “velar pinch”
207
Q

O Summarize place cues in stops by describing burst spectra in bilabials.

A
  • diffuse falling energy
208
Q

O Summarize place cues in stops by describing burst spectra in alveolars.

A
  • diffuse rising energy
209
Q

O Summarize place cues in stops by describing burst spectra in velars.

A
  • compact energy near F2
210
Q

O Summarize place cues in stops by describing VOT duration in bilabials.

A
  • VOT is shortest in bilabials
211
Q

O Summarize place cues in stops by describing VOT in velars.

A
  • VOT is longest in velars
212
Q

O In regards to aspiration noise, where does burst noise originate?

A
  • at the place of articulation
213
Q

O Where does aspiration noise originate?

A
  • at the glottis
214
Q

O How long does aspiration noise from the glottis last?

A
  • until the vocal folds begin to vibrate
215
Q

O What information is provided when the super laryngeal vocal tract filters aspiration noise?

A
  • information about “stop” AND following the vowel
216
Q

O What is frication noise a primary cue for?

A
  • fricative manner, voicing, and place
217
Q

O Fricative characteristics vary along what 3 acoustic dimensions?

A
  1. frequency
  2. amplitude
  3. duration
218
Q

O What information do the 3 acoustic dimensions of fricatives provide?

A
  • cues to fricative identity
219
Q

O Does the absence of a voiced cycle meant that we will perceive a voiceless fricative?

A
  • NO
220
Q

O What are 3 cues to voiced fricatives?

A
  1. voiced cycles are often present
  2. duration is shorter than for voiceless fricatives
  3. amplitude is lower than for voiceless fricatives
221
Q

O Where else can you apply the generalized cues of voiced fricatives?

A
  • voicing in stops
222
Q

O What is an important cue to fricative identity?

A
  • noise amplitude
223
Q

O What do sibilant fricatives produce?

A

high-amplitude noise

224
Q

O List the sibilants.

A

Sibilants include /s, z, ʃ, ʒ/

225
Q

O What do non-sibilant fricatives produce?

A

low-amplitude noise

226
Q

O List the non-sibilants.

A

Non-sibilants include /θ, ð, f, v/

227
Q

O Name one of the frequency cues we use to distinguish between /s/ and /ʃ/ ?

A
  • the smaller the cavity the higher the frequency
228
Q

O What does the vocal tract in front of the constriction filter?

A
  • the noise source
229
Q

O Which fricatives will have a high frequency noise?

A

/s, z/ or /ʃ, ʒ/

230
Q

O Does lip rounding increase or decrease frequency?

A
  • decreases frequency
231
Q

O Name the highly confusing non-sibilant fricatives.

A

/θ, ð, f, v/

232
Q

O What 2 cues do we rely on to distinguish differences between non-sibilant fricatives?

A
  1. formant transitions

2. noise frequency

233
Q

O What is an affricate?

A
  • a stop followed by a fricative
234
Q

O What do affricates combine?

A
  • acoustic cues to stops and fricatives
235
Q

O How do you distinguish an affricate from a stop + fricative combination?

A
  • by duration of
    1. silent gap shorter than for stops
    2. rise time shorter than for fricatives
    3. frication noise duration shorter than for fricatives
236
Q

O What is rise time?

A
  • time for waveform to reach maximum amplitude
237
Q

O What are fast rise times a cue for?

A
  • affricates
238
Q

O What are slower rise times a cue for?

A
  • fricatives
239
Q

O True or False? For affricates, everything happens faster than for stops and fricatives.

A

TRUE

240
Q

O Give 3 examples for the duration of each acoustic cue being shorter in an affricate.

A
  1. silent gap
  2. rise time
  3. frication noise
241
Q

O List 4 characteristics of a voiced affricate.

A
  1. shorter silent gap
  2. some periodicity in frication noise
  3. shorter duration frication noise
  4. lower amplitude frication noise
242
Q

O Identify the 2 combined place cues for stop and fricative portions.

A
  1. stop portion is place primarily cued by formant transitions
  2. fricative portion is place cued primarily by cutoff frequency
243
Q

O How do the cues of distinguishing sibilant and non-sibilant fricatives contribute to perception of fricative voicing?

A
  1. periodicity
  2. duration
  3. amplitude
244
Q

O How do cues of distinguishing sibilant and non-sibilant fricatives help distinguish affricate from stop of fricative manner of articulation?

A
  1. silent gap

2. frication noise (rise time and duration)

Speech Science (1 decks)

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