Download A Guide to Speech Production and Perception by Mark Tatham PDF

By Mark Tatham

What roles do the speaker and the listener play in verbal exchange techniques? supplying an total procedure view, this cutting edge textbook explains how these operating within the quarter take into consideration speech. Emphasising contextual and environmental views, Tatham and Morton lead you thru classical and glossy phonetics along dialogue of cognitive and organic elements of speech. In explaining speech production-for-perception and the connection among phonology and phonetics, this publication indicates the potential purposes (such as language educating, medical perform, and speech know-how) and the way those are proper to different disciplines, together with sociolinguistics, cognitive neuroscience, psychology and speech acoustics.

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Additional info for A Guide to Speech Production and Perception

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In general, the narrower the constriction, the higher the spectral frequency band of the fricative, and the higher its relative amplitude (TUTORIAL – THE ACOUSTIC SIGNAL, Chapter 1). indd 26 02/03/2011 10:40 ADDINGRESONANCE pressure rises), whereupon they come back together again (because the air pressure between them drops and the subglottal air pressure falls) to interrupt the flow again in a cyclical fashion. g. in Cockney paper [peiʔǝ]). The vocal cords sometimes only partially stop the airflow, as in the voiceless glottal fricative [h] or in whispered speech.

The subsequent resonance in, for example, the oral or nasal cavities amplifies, relatively, the resonant frequency at the expense of the frequencies on either side of it in the spectrum. We say that particular frequencies, relative to each other, are amplified while others are attenuated. Not only is the source sound wave from the vocal cords complex in nature, the resonances themselves are also complex, having not just one area of resonance in the spectrum, but several. In the static vocal tract, we speak of this complex of resonances, and when these are dynamically in actual operation – that is, during a piece of real speech – we speak of formants being introduced into the final sound which will emerge from the mouth and/or nose.

Schuckers and L. Feth (1980), The Physiology of Speech and Hearing: An Introduction, Englewood Cliffs, NJ: Prentice Hall. Fant, G. (1960), Acoustic Theory of Speech Production, The Hague: Mouton. Fant, G. (1973), Speech Sounds and Features, Cambridge, MA: MIT Press. Harrington, J. and S. Cassidy (1999), Techniques in Speech Acoustics, Dordrecht: Kluwer. Johnson, K. (2003), Acoustic and Auditory Phonetics, Oxford: Blackwell. King, D. W. and D. G. Drumright (2009), Anatomy and Physiology for Speech, Language and Hearing, 4th edn, Florence, KY: Delmar Cengage Learning.

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