This paper presents an acoustic description of the nine Azerbaijani vowels; investigating the underlying acoustic and temporal characteristics of its vowel system. We explored acoustic and temporal parameters including: the first three formants (F1, F2 and F3), fundamental frequency (F0) and duration of the vowels. Participants in this study were 20 male and 23 female Azerbaijani speakers with a Tabrizi dialect. They were asked to utter three repetitions of the nine Azerbaijani vowels in three natural word contexts, embedded in carrier sentences. Results showed that the [ɯ] and [œ] vowels had a large overlap in the F1–F2 vowel space. Further analysis suggested that F3 is an important cue in discrimination of this vowel pair. Vowel-intrinsic duration effect seemed to be relatively strong in Azerbaijani. Other universal features also were found in the production of Azerbaijani vowels: low vowels and female speakers had lower F0 values. Surprisingly, in contrast with previous results for most languages, the average duration of Azerbaijani vowels was greater in males than females. The results of this study define the acoustic vowel-space of the Azerbaijani language and develop a database for further comparisons and investigations.
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This is an overview of the work with synthesizing singing that has been carried out at the Speech Music Hearing Department, KTH since 1977. The origin of the work, a hardware synthesis machine, is described and some aspects of the control program, a modified version of a text-to-speech conversion system are reviewed. Three applications are described in which the synthesis system has paved the way for investigations of specific aspects of the singing voice. One concerns the perceptual relevance of the center frequency of the singer's formant, one deals with characteristics of an ugly voice, and one regards intonation. The article is accompanied by 18 sound examples, several of which were not published before. Finally, limitations and advantages of singing synthesis are discussed.
The paper investigates the interdependence between the perceptual identification of the vocalic quality of six isolated Polish vowels traditionally defined by the spectral envelope and the fundamental frequency F0. The stimuli used in the listening experiments were natural female and male voices, which were modified by changing the F0 values in the ±1 octave range. The results were then compared with the outcome of the experiments on fully synthetic voices. Despite the differences in the generation of the investigated stimuli and their technical quality, consistent results were obtained. They confirmed the findings that in the perceptual identification of vowels of key importance is not only the position of the formants on the F1 × F2 plane but also their relationship to F0, the connection between the formants and the harmonics and other factors. The paper presents, in quantitative terms, all possible kinds of perceptual shifts of Polish vowels from one phonetic category to another in the function of voice pitch. An additional perceptual experiment was also conducted to check a broader range of F0 changes and their impact on the identification of vowels in CVC (consonant, vowel, consonant) structures. A mismatch between the formants and the glottal tone value can lead to a change in phonetic category.
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The suffixes in variations of personal names that used to identify a person in one local community and were “tied” to a particular carrier have been analyzed in the article. The author also found many variants created using formants, which were added to the full and truncated word creating bases. These suffixes may be added to appellatives as well as to proper names.
This paper presents results of research on effects of lossy coding on formant frequencies for japanese speech signals. Additionally changes in pitch of the voice were inspected. For this research four most popular lossy coding standards were chosen, MP3, WMA, AAC and OGG, and compared to original WAVE files. Audio files were created by the author based on ITU-T P.501 recommendation in two sampling frequencies, 16 kHz and 48 kHz, and converted into chosen codecs. To extract the data from audio files, open license software Praat was used. Due to discovered differences in time duration between original and encoded files, that also differed between individual codecs, only OGG and WMA standards were compared directly. MP3 and AAC standards were divided into Japanese syllables, averaged and then compared into also averaged WAVE files. Results were additionally compared to FLAC lossless codec.
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The article presents physical basics of human speech production. There are considered the most fundamental phonemes-vowels. Acoustic properties of vowels are extracted. It is observed that the most important are positions and shapes of first two formants. The rest of the spectral attributes of vowels, exception is voiced excitation, can be canelled. Vowels are still recognized by human. In the article acoustic model of vowels production is propsed and tested. Results are presented in graphic manner.
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The article explores the formation of nouns and adjectives entering the anoikonyms of Moravia and Silesia. The presented survey is based exclusively on the headword-book containing 33 000 headwords, which was processed at the Department of Dialectology of the Academy of Science of the Czech Republic in Brno. It gives the word-formative forms of individual names according to the formants and the connectivity of the formants with the bases of certain parts of speech, possibly the connectivity of components in compounds. The geographical differentiation of the observed forms was not considered. The aim is to state how the respective word-formative forms participate in the resulting meaning of the anoikonyms.
A course in auditory evaluation of sound, called Timbre Solfege, was developed by a team of researchers headed by Professor Andrzej Rakowski, at the Music Acoustics Laboratory, Chopin University of Music. A large part of the course, taught at the Department of Sound Engineering, has been focused on the detection and identification of timbre changes produced by formants and by other kind of sound spectrum modifications. Detecting formants in sound recordings is an auditory task that has much in common with auditory profile analysis, an area of research initiated and developed in psychoacoustics by Professor David M. Green, exploring the fundamentals of detection of changes in the sound spectrum envelope shape, independently of the differences in loudness between the sounds. The purpose of this study is an attempt to relate the results of the Timbre Solfege sound evaluation drills to the theory of the auditory profile analysis.