• 음성과학
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• 제9권2호
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• pp.49-58
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• 2002

This study is to classify intonation types of sentence terminal in accordance with sentence form in Korean dialects. Intonation types of sentence terminal in declarative, interrogative (yes-no and wh-sentence), imperative, suggestive of Gyeongnam dialect are low fall, high fall, high fall, low fall, so are not distinctive by intonation, but distinctive by final ending morphemes. But those of Jungbu dialect are low fall, rise-fall and full rise, high level, low rise-fall. Those of Jeonnam dialect are low level, rise-fall and full rise, high level, high level. So those of Jungbu dialect are similar to Jeonnam dialect.

• ETRI Journal
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• 제28권6호
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• pp.807-810
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• 2006

This letter presents a prediction model for sentence-final intonations for Korean conversational-style text-to-speech systems in which we introduce the linguistic feature of 'modality' as a new parameter. Based on their function and meaning, we classify tonal forms in speech data into tone types meaningful for speech synthesis and use the result of this classification to build our prediction model using a tree structured classification algorithm. In order to show that modality is more effective for the prediction model than features such as sentence type or speech act, an experiment is performed on a test set of 970 utterances with a training set of 3,883 utterances. The results show that modality makes a higher contribution to the determination of sentence-final intonation than sentence type or speech act, and that prediction accuracy improves up to 25% when the feature of modality is introduced.

• 영어어문교육
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• 제15권4호
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• pp.95-108
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• 2009

One of the learning difficulties for Korean learners of English is the intonation of English focused yes/no questions. Focused words in English yes/no questions are realized as low pitch accents which contrast with high pitch accents in Korean counterparts. In order to improve Korean students' intonation, direct and metalinguistic explanations on the intonation of English focused yes/no questions were given to Korean learners of English. In pre-tests and post-tests, students' perceptions on the target items were measured. The study results showed that phonetic explanation using intonation contour enhanced students' perception on English intonation. With respect to the position of focused words, sentence initial and medial focused questions were more difficult than sentence final focused questions. The perception was most improved in sentence initial focused questions. The study showed the immediate effects of the explicit instruction on perceptions of English intonation.

• 음성과학
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• 제1권
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• pp.39-53
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• 1997

As the segmental phonetic output is derived from its underlying form, the phonetic surface of intonation could also be derived from its underlying tone melody. In order to show clearly the phonological processes (in fact, we need more than just phonological processes) involved in the generation of intonational surface, we need to formalize the description of those processes. This paper firstly examines different types of sentence-final intonation contour in Korean, and then attempt to formalize the intonational behavior of those contours. In this attempt, we will investigate what kinds of linguistic information participate in deciding the shapes of the. contours and what kinds of tonological processes the underlying tone melody undergoes before it takes the surface shape. In this analysis of intonation contours, we focus on the linguistic structure rather than the acoustic property, adopting just two tones L and H as phonological tones, with four phonetic pitches.

• 대한음성학회지:말소리
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• 제21_24호
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• pp.90-110
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• 1992

The purpose of this thesis is to investigate the intonation features of the last two syllables of rhythmic units, with the exception of the sentence final unit, in the Seoul dialect of Korean. The Model 5500 Sona-graph was used to measure the pitch and duration of the target syllables. There are two classes of materials. One class was designed to determine the intonation of rhythmic units in a natural situation and the other to investigate the intonation of rhythmic units in an artificial situation, in which speakers were asked to read the materials pausing only at the marked boundaries, with a view to identifying the intonation of Seoul dialect more clearly. The findings of this investigation are as follows: (1) Korean averages an 11% rising intonation between the two syllables at the end of a rhythmic unit. (2) The rising rate between the final two syllables' pitch values at the subject rhythmic unit is generally higher than those at other units in a sentence and it seems to be meaningful syntactically. (3) Before a boundary the rhythmic units undergo 'pre-lowering', in which the pitch gradually lowers from the first syllable to the penultimate. (4) Every syllable in each rhythmic unit tends to lengthen when speakers read the materials with a pause between units and the tendency is most salient at the final syllable before a boundary.

• 대한음성학회지:말소리
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• 제9_10호
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• pp.28-90
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• 1985

This study has two objectives. ft attempts to describe the forms and (He functions of sentence final intonations in Korean, and it also attempts to deal with the relationship between questions and rising intonation for Korean and English. The contents of this study are as follows. In Chapter 2, the version of Korean(standard Korean) which this study is assumed to analyse, the sources of material involved, and the method and scope of analysis are stated. Chapter 3, which is a preparatory stage for the analysis of the function of intonation in standard Korean in Chapter 4, classifies the material according to the type of intonation used. In Chapter 4i the discussion is entirely devoted to the function of Korean intonation. The conclusions of Chapter 4 are as follows: Firstly, intonation contours in Korean have the function of distinguishing the sentence types; the falling contour marks declaratives, Wh- interrogatives and imperatives, while the rising contour marks yes/no interrogatives. However, it is interesting to note that in the interrogative sentences with the inflectional ending '-chi', a very different phenomenon is observed; that is to say, most of yes/no interrogatives are marked by the falling contour and all of Wh- interrogatives by the rising one. Secondly, the falling contour in Korean is typically employed in performing the illocutionary act of assertion in rhetorical and tag questions. Thirdly, the intonation in Korean contributes to express the speaker's special attitudes or emotions. In Chapter 5, where the relationship between questions and rising intonation is examined, Liberman's theory turns out to be untenable. Further-more. this thesis shows that an explanation of the relationship between questions and rising intonation should have its basis on general linguistic facts.

• 말소리와 음성과학
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• 제6권3호
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• pp.131-138
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• 2014

A close-copy stylization of intonation curve was used for an acoustical analysis of emotional speech. For the analysis, 408 utterances of five emotions (happiness, anger, fear, neutral and sadness) were processed to extract acoustical feature values. The results show that certain pitch point features (pitch point movement time and pitch point distance within a sentence) and sentence level features (pitch range of a final pitch point, pitch range of a sentence and pitch slope of a sentence) are affected by emotions. Pitch point movement time, pitch point distance within a sentence and pitch slope of a sentence show no significant difference between male and female participants. The emotions with high arousal (happiness and anger) are consistently distinguished from the emotion with low arousal (sadness) in terms of these acoustical features. Emotions with higher arousal show steeper pitch slope of a sentence. They have steeper pitch slope at the end of a sentence. They also show wider pitch range of a sentence. The acoustical analysis in this study implies the possibility that the measurement of these acoustical features can be used to cluster and identify emotions of speech.

• 음성과학
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• 제10권2호
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• pp.319-338
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• 2003

The aim of this paper is to examine the sentence final tonal patterns of English wh-questions through phonetic experiments, based on Intonational Phonology, and to explain the meaning of the final phrase tones of English wh-questions. Pierrehumbert and Hirschberg (1990) suggested that it is pitch accents rather than boundary tones which play a crucial role in the meaning of a sentence, and that most of the general questions have H-H% tonal patterns in the sentence final. However, they could not explain why wh-questions had final falling tonal patterns (L-L%). While Bartels (1999) suggested that L phrase tone has the meaning of 'ASSERTION' and it could be applied to the explanation of the meaning of wh-questions' final tonal patterns. However, her suggestions are only theoretical explanation without any experimental support. In this paper, based on Bartels (1999), the data was classified into the following three classes: 1) echo wh-questions, 2) reference questions, and 3) common wh-questions. Using this data, a production test by three English native speakers was conducted. The results show that reference questions and common wh-questions have L phrase tones in the sentence final at a high rate, and echo wh-questions have H phrase tones in the sentence final at a high rate.

• 음성과학
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• 제7권4호
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• pp.187-202
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• 2000

The negative sentence may have an ambiguity depending on which constituent of the sentence is negated. In case of sentence final adverbials, whether they are included in the scope of negation generates the semantic ambiguity. Since sentences with ambiguous meanings have the same word order, the differences of the meanings in different contexts should be manifested with intonational cues. This article represents how intonation contributes to the disambiguation in negative sentences with ambiguity and which phonological/phonetic cues are specifically used in the course of the disambiguation.

• 한국음향학회지
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• 제15권6호
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• pp.26-32
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• 1996

본 논문은 자연스러운 여성 합성음을 위한 피치 변화 법칙을 세웠다. 피치 변화 법칙이 적용되는 기본 단위, 즉 억양구는 주로 어절(들)로 이것의 첫번째, 두번째, 마지막 음절의 피치값을 연결해 피치 변화 곡선을 형성하였는데, 첫번째, 두번째 음절의 피치값은 각 음절의 초성에 따라, 마지막 음절의 피치값은 기능어의 종류에 따라 결정되었다. 억양구 사이에는 '쉼(pause)이 있는 경계' 또는 '쉼이 없는 경계'가 오며, 쉼이 있는 경계에는 relaxation이 있다. 이러한 억양구의 피치 변화 곡선, 경계 현상들이 모여 한 문장의 피치 턴을 만들었다.