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- All Subjects: Articulation
- Creators: Gan, Nan
- Creators: Jiao, Yishan
Description
Speech intelligibility measures how much a speaker can be understood by a listener. Traditional measures of intelligibility, such as word accuracy, are not sufficient to reveal the reasons of intelligibility degradation. This dissertation investigates the underlying sources of intelligibility degradations from both perspectives of the speaker and the listener. Segmental phoneme errors and suprasegmental lexical boundary errors are developed to reveal the perceptual strategies of the listener. A comprehensive set of automated acoustic measures are developed to quantify variations in the acoustic signal from three perceptual aspects, including articulation, prosody, and vocal quality. The developed measures have been validated on a dysarthric speech dataset with various severity degrees. Multiple regression analysis is employed to show the developed measures could predict perceptual ratings reliably. The relationship between the acoustic measures and the listening errors is investigated to show the interaction between speech production and perception. The hypothesize is that the segmental phoneme errors are mainly caused by the imprecise articulation, while the sprasegmental lexical boundary errors are due to the unreliable phonemic information as well as the abnormal rhythm and prosody patterns. To test the hypothesis, within-speaker variations are simulated in different speaking modes. Significant changes have been detected in both the acoustic signals and the listening errors. Results of the regression analysis support the hypothesis by showing that changes in the articulation-related acoustic features are important in predicting changes in listening phoneme errors, while changes in both of the articulation- and prosody-related features are important in predicting changes in lexical boundary errors. Moreover, significant correlation has been achieved in the cross-validation experiment, which indicates that it is possible to predict intelligibility variations from acoustic signal.
ContributorsJiao, Yishan (Author) / Berisha, Visar (Thesis advisor) / Liss, Julie (Thesis advisor) / Zhou, Yi (Committee member) / Arizona State University (Publisher)
Created2019
Description
This paper closely examines the performance practice regarding articulation of the preludes from Bach’s Well-Tempered Clavier Book I. Recordings by five pianists are studied: Vladimir Feltsman, Glenn Gould, Angela Hewitt, Andras Schiff, and Rosalyn Tureck. The recordings reveal certain recurring articulation patterns which are categorized into six articulation techniques: short slurs, long slurs, detached upbeat, accented downbeats, changing articulation, and rolled chords. The author has divided the preludes into four groups: preludes with continuous running figuration, lyrical preludes, lyrical preludes with distinct melody and accompaniment, and preludes with non-lyrical themes. Analysis reveals that for each group of preludes, there are a set of principles that these pianists follow. Overall, for non-lyrical preludes, the running sixteenth notes are played legato, staccato, or a short slur followed by staccato. The slower moving quarter and eighth notes stay mostly detached or staccato. For lyrical preludes, the melody remains largely legato. Articulation techniques are used more extensively in non-lyrical preludes than lyrical ones, and more often in the slower moving eighth notes than running figuration. Articulation techniques are often used as means of embellishment. They enhance the individual character of each piece and generate Baroque attributes. Despite the principles observed in the recordings, many isolated performances are found which do not conform to any of them, suggesting that there is no authoritative rule when articulating Bach’s works on piano.
ContributorsGan, Nan (Author) / Hamilton, Robert (Thesis advisor) / Meir, Baruch (Committee member) / Little, Bliss (Committee member) / Marshall, Kimberly (Committee member) / Arizona State University (Publisher)
Created2020