Brainscape's Knowledge GenomeTM


Top Flashcards (Certified)
All Flashcards

Acoustics > Final > Flashcards

Final Flashcards

(64 cards)

Start Studying
1
Q

difference between consonants and vowels

A

consonants have lower amplitude and are more constricted

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

dysarthria vowel sapce

A

reduced

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

precipitous HF HL has more difficulty with glides or vowels?

A

glides

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

spectrum of /l/

A

energy dip at frequency of side branch (anti-resonance)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

formant transition

A

changing resonant frequencies of vocal tract due to movement of the articulators during voicing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

release spectra for stops

A

depends on size of cavity in front of occlusion; alveolars: high freq. energy; velars: mid freq.; bilabials: low or flat (due to coupling of release with cavity BEHIND occlusion)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

acoustic invariance

A

constant presence of acoustic cue that uniquely specifies an element of speech; Blumstein & Stevens tried to prove this with the spectra of stop bursts, but found this to be true only in 85% of bursts, so either perception relies on something other than acoustic invariance or the stop burst is just one of many acoustic cues used

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

formant transitions for CV

A

F1 always rises (vowels more open); F2 (tongue movement) rises, falls, or stays flat

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

VOT

A

time between release of occlusion and onset of voicing: negative if starts before release, zero if same time (mostly in English), positive if voicing after release

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

voiced/voiceless stops in English

A

voiced VOT usually 25 ms or less; voiceless 40 ms or more

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

pressure in cleft palate

A

can’t build up pressure behind occlusion, so trouble with stops and fricatives

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

difference between affricates and fricatives

A

rise time for amplitude onset in affricate is shorter

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

nasals

A

closed side branch forms anti-resonances of vocal tract; all resonant frequencies above anti-resonance lowered; spectral valleys in spectrum due to anti-resonances; occlusion in oral cavity and lowering of velum; overall low frequency with dominant low frequency emphasis nasal murmur

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

are perceptual judgments of nasality reliable when compared to nasometer?

A

yes

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

fricatives

A

source is turbulent airflow; spectrum determined by size and shape of cavity in front of constriction; aperiodic; amplitude determined by velocity of air molecules passing through constriction: narrow constriction impedes airflow and increases speed, so narrower=louder; contains broadband energy; fricatives are lowest amplitude element of speech

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

strident fricatives

A

z, s, zh, sh; sharper constriction and more energy (louder) in spectra; also, voiced fricatives are louder and shorter; voiced fricative has low frequency drop at beginning

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

how many syllables per second and sounds per second?

A

6-7 syllables and 10-14 sounds

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Lindblom’s short term memory model for coarticulation

A
  1. speech movements preprogrammed in short term storage; 2. storage continually updated and changed; 3. size of storage limited, so instructions become more compressed as length increases, but limit to compressibility since each segment must remain minimally distinct
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

prosody

A

changes in duration, f0, and amplitude (+timbre)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

stress definition

A

relative salience of syllables; perceptual, not acoustic measure

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

cross-linguistic prosody

A

English predominantly strong-weak; Finnish similar to English; French has accent at end of phrase; Welsh has stress opposite that of English

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

Why does increasing subglottal pressure result in increasing rate of glottal pulsing?

A

dynamics of more forcefully separating VF + increased tension to keep VF together = louder speech and higher f0; note that these CAN be controlled separately, but often are not (for example, in question intonation f0 rises without subglottal pressure)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

Lieberman’s breath group theory

A

utterance that occurs between two respiratory inspirations; unmarked maintains constant VF tension; marked does not

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

stress patterns in baby babble

A

not very reliable marker, but if the language is more consistent, the patterns may be acquired earlier

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
British vs. American mothers
British had longer duration and was less exaggerated and more consistently loud; American had higher pitch, more isolated words, more repetition, more salience (before boundary, using pauses)=American babies learning more words
26
Shepard's vowel space
not acoustic, but based on perception of misidentified vowels (closer together=more likely confused); but same location as Peterson & Barney
27
simple target models for vowel perception
only formant values are cues (first two formant values, which may sometimes be averaged)
28
elaborated target models
contain an element of normalization, for example formant ratios; intrinsic normalization =vowel has sufficient acoustic info. for i.d., while extrinsic =acoustic information and other cues are used to i.d. vowel (such as information about speaker or information from surrounding speech or dialect, etc.)
29
priming
influence perception of vowel by preceding speech, for example by giving speech with lower F1 first, vowel then heard as "bit" (lower F1) instead of "bet"
30
evidence against simple and elaborated target models
from Strange and colleagues, who took out formant info. from middle of vowels, to suggest that dynamic information, specifically formant transitions, are important
31
dynamic specification models
vowel perception based on formant trajectories (type of transition with knowledge of where you're going)
32
Stevens & House said that
formant values dependent on consonants coarticulated with
33
why would you want to combine three theories?
message redundancy so that all cues can converge on one phoneme, so that if you lose a cue, you can still rely on others for understanding
34
what has the highest frequency amplitude peak?
f0
35
Haskins lab
painting spectrographs in 1952 to develop prosthetic device for blind veterans to read to them
36
Lieberman et al. study 1952
found that same frequency burst would be judged as p, t, k depending on F2, but didn't anticipate vowel environment (burst emphasis of stop), but then looked at transitions
37
Kewley -Port then found that
changing spectrum of burst over time could identify stop; but data remained inconclusive
38
acoustic cues for perception of stops
place: F2, changing spectral characteristics of burst over time, spectral emphasis of burst; manner: F1, transition, silent period (or voice bar), rapid onset of energy
39
acoustic cues for perception of all categories
place: F2; manner: F1
40
acoustic cues for perception of liquids and glides
place: dynamic formants, specific configuration of formant transitions (e.g., /r/ F3 drops); manner: dynamic formants (glides more than liquids)
41
acoustic cues for perception of nasals
place: F2; manner: murmur, antiresonances, damped frequencies above antiresonance
42
acoustic cues for perception of fricatives
place: spectral peak/emphasis; manner: high energy, aperiodic, broadband energy
43
categorical perception
identification (label stimuli along continuum) and discrimination (judge whether sounds are same or different); how we categorize different acoustic signals as the same thing; can train self to hear smaller differences, but why do so if not phonemic contrast?; insensitive to differences within phonetic category, but hypersensitive across boundary
44
criteria for categorical perception
sharp slope in identification at phonetic category boundary; discrimination of acoustic differences above chance across phonetic category boundaries; discrimination of acoustic differences is at chance within phonetic categories
45
are we better or worse at discriminating vowels than consonants within a category?
better
46
two extremes for categorical perception
speech is special (Lieberman, etc.) and categorical is not categorical (Pisoni, etc.)
47
What is the voiced/voiceless boundary for humans?
30 ms (however, chinchillas also close)
48
infant speech perception and perceptual narrowing
6-8 mos. infants can easily discriminate non-native contrasts, but 10-12 mos. old perform more like adults
49
what happens if you insert silence between s and lit?
perceive split as long as you make the silence long enough (trading off occurring; need longer silence)
50
other examples of perceptual integration of acoustic cues
lower F1 onsets cue voiced stops but also require longer VOT
51
b and w similar acousticsally
although w has steeper slope; but if you said w faster and shrank the slope, it would sound more like b
52
when listeners use acoustic cues to i.d. speech, do they compensate for rate of speech?
yes; different processing (when speech is fast, listeners change percept to /w/ more quickly, compared to /b/)
53
motor theory
1. objects of speech perception are the intended phonetic gestures of the speaker (abstract type of invariance embedded in motor control of articulators) 2. if perception and production share same invariants, must be intimately linked (since acoustic cues aren't sufficient)
54
more motor theory
different sound --same percept; same sound--different percept (same freq. burst judged as diff. stop depending on F2 value); you can override cues, for example changing silent duration in slit with lead to split
55
duplex perception
for motor theory--separate formants and transition, end up with chirp--speech and non-speech sounds processed differently?
56
black box of motor theory
acoustic signal undergoes mysterious transformation (unexplained) into intended phonetic gesture before it comes out as a phoneme
57
McGurk Effect
integrate visual and auditory cues into one percept that is between them; argument for perceiving phonetic gestures
58
quantal theory
think of this as categorical production; composed of discrete units and varies by steps, not continuously; because of this quantal nature of speech, invariant cues to speech are either acoustic or arise from processing acoustic signal in auditory system; invariance due to quantal nature of speech or quantal way that aud. system responds to speech; this theory can be tested in lab
59
more quantal theory
ultimate units of perception are distinctive features (ex: +/-bilabial)
60
quantal theory units of perception
place: burst freq. emphasis (but only 80% of time); spectrum of burst over time; nasality: spectra before closure and after and during the murmur; consonantal: change in spectrum over time (more dramatic for stop than glide); strident: high frequency energy
61
theories of speech perception
motor theory way on left under motor; quantal in middle; auditory on right
62
Can production lead to perception in infants?
Maybe. Think about timeline for expressive vs. receptive skills--similar. Also consider infants' interest in listening to sounds; if they have one favorite babble pattern (ex: ba) and you play that vs. other sounds, they are more interested in the one they produce; if have two favorite sounds and you play two out of three, then more interested in novel sound (in same category that is in reach)--roots of phonology?
63
look at actual slides and
study quizzes
64
categorical perception, quantum theory, motor theory
1. word-final devoicing in Russian; 2. minimal pairs--note how small change has big consequences; 3. focus on placement when working with artic--want gesture to be right

Acoustics (2 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2025 Bold Learning Solutions. Terms and Conditions