how is a five-level-tone contrast possible?€¦ · this talk given normal hearing and speaking...
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How is a five-level-tonecontrast possible?
Jianjing KuangUCLA Linguistics Department
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55 44 33 22 11
Five contrasting pitch levels
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¢ It’s easy to produce more than tendifferent pitch levels, even for poorsingers
¢ How many contrasting pitch levels can
tonal languages have?
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Language facts
¢ Usually 1 – 2 level tones¢ Less often 3¢ Rare 4¢ Extremely rare 5
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Phonological contrasts should be subject totwo principles: Speakers: easy to produce the smallerthe better Listeners: easy to hear the bigger thebetter
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Five-level-tone contrast is veryhard to maintain, because…
Limitation in production:• pitch range of normal speech is around
100Hz (Baken and Orlikoff 2000)• Also see next slide, our data
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Pitch range across languages(male speakers)
UCLA languages corpus
Bo English Gujarati Hmong Luchun Mandarin Mazatec Yi Zapotec
0100
200
300
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Limitation in perception:• JND of pitch in lexical tones is about 9Hz
(Silverman 2003), but a phonologicalcontrast requires much greater difference
• 20-30Hz difference for a tonal contrast isa small number, e.g. Cantonese 22 and33 are very confusable and merging (Mokand Wong 2011)
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Even a three-level contrast is very hard tomaintain in a 100 Hz range, not to mentiona fourth or fifth level.
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This talk
Given normal hearing and speaking ability,how can native speakers produce and hearmultiple contrasting level tones?
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This talk
Given normal hearing and speaking ability,how can native speakers produce and hearmultiple contrasting level tones?àThe tonal production and perception of alanguage with five-level-tone contrasts.
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This talk
Given normal hearing and speaking ability,how can native speakers produce and hearmultiple contrasting level tones?àThe tonal production and perception of alanguage with five-level-tone contrasts.àTonal contrasts are so much more thanpitch contrasts. When pitch contrasts getcrowded, other cues will be involved toenhance the contrasts.
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Black Miao
¢ Black Miao dialect, called Qingjiang Miao(Ch'ing Chiang Miao). This dialect isspoken at Shidong Kou (Shih-Tung-K'ou),Taijiang (T'ai-Kung) county of Guizhou(Kweichow) province in China.
¢ Miao languages are unrelated to Sino-Tibetan languages like Chinese.
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Tonal systemI II III IV V VI VII VIII
44 51 55 22 45 33 13 11
Male
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Tonal systemI II III IV V VI VII VIII
44 51 55 22 45 33 13 11Male
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Five levels
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Perception experiment
Stimuli:¢A minimal set of eight real monosyllabicwords with [pa]. Produced by a male nativespeaker.¢/pa55/ "(water) full”¢/pa44/ "send”¢/pa33/ "fail”¢/pa22/ "net”¢/pa11/ ”pull”
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Procedure• Familiarity phase: testing words were
instructed in proper contexts• Identification: single audio target;
preceded by an audio introduction• AX discrimination: two audio stimuli
(possible pairs among eight tones);measuring RT and accuracy.
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Subjects¢A total of 18 subjects, eight males and tenfemales, participated in this experiment.Four females, who were not nativespeakers of this particular Black Miaodialect, were excluded from the currentanalysis, leaving 14 subjects.
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Hypotheses
¢ Tones withadjacent pitchvalues are introuble
¢ If F0 is the only
cue, accuracy for33 should be theworst.
110!130!150!170!190!210!230!
F0!(Hz)!
11!22!33!44!55!
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ID Accuracy
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ID Accuracy
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Dissimilarity matrix for alllisteners.
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MDS perceptual space
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Production experiment
¢ A wordlist of minimal monosyllabic sets forthe eight tones was created based on Li'stranscriptions (Kwan1966). 23 minimal ornear-minimal sets were confirmed by thespeakers.
¢ Simultaneous EGG and audio recordingswere then collected from 15 native speakers(ten males and five females).
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Measures
¢ Pitch related:mean F0, F0 change, offset, onset¢ Duration¢ Voice quality related (* corrected, Iseli et al 2007):
• Spectral: H1*, H2*, H4*, A1*, A2*, A3*;H1*-H2*/A1*/A2*/A3*;H2*-H4*
• EGG: CQ (contact quotient), SQ (skewquotient), PIC, PDC
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MDS Production space
Pitch measuresonly¢Mean F0,¢F0 change¢onset¢offset¢duration
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R=0.17Perceptual space Production space
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MDS Production space
Pitch + voicequalityH1*,H2*,H4*H1*-H2*H1*-A1*/A2*/A3*H2*-H4*
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R=0.76Perceptual space Production space
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Summary
¢ Tones with similar adjacent pitch valueshave no trouble:
11 ~ 22 22 ~ 33 33 ~ 44 44 ~ 55 ¢ 33 is very distinguishableBut 22 ~ 44 (with 20-30Hz
difference)
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Voice qualities in tones
11, 33 and 55 benefit from phonation cues
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Discussions
¢ 55 and 11 can benefit from both pitchcues and phonation cues
¢ For the mid-range tones that have verysimilar pitch cues, 33 is distinctive from22 and 44 primarily by the phonation cue.
¢ 22 vs. 44, the tonal contrast with only apitch difference is the most confusable
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Conclusions
¢ Tone is more than pitch¢ Complicated tonal contrasts rely on other
cues, e.g. duration, contour and voicequality
¢ Voice quality can play important roles intonal production and perception –especially here, in a language with acrowded tone space
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Thank you!
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