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| Succession of relative pitches played in particular order |
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What is varied in a melody is the fundamental frequency Allows us to recognize a tune played from different instruments |
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Quality May change as long as fundamental frequency (pitch) remains constant |
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A melody can be recognized even if we move the entire thing up and down in pitch, as long as the ______ pitches stay the same |
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| How we rercognize music by pitches |
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| Notes played together, such as a chord |
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| A set of notes to be found pleasing |
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| A set of notes to be found displeasing |
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| The Most Consonant Intervals |
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| When fundamental frequencies are ratios of small numbers |
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| Rules of construction, a structure which has hierarchial patterns of tension (dissonance) and relaxation (consonance) |
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| How does a musical phrase typically end? |
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Pattern of voice pitch and rhythm in speech |
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The meaning of a word can be changed by changes in the pitch contour There are more of these than non-___ languages |
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| Large variations in voice pitch and rhythm in which vowels are drawn out to denote social interaction |
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| Associated with slow long pitch changes |
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| Associated with short choppy low pitch bursts |
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Perceptual component of music Can be seen in the waveform as structures that repeat at lower frequencies than 20 Hz |
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| When we hear repetitions as frequencies |
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Perceived equal durations of syllables Spanish, French, and Finnish |
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Perceived equal time spacing between stressed syllables English, Dutch, German, and Russian |
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| Abnormality of speech production |
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Rapid fire rushed of speech, monotone Parkinson's disease |
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Irregular and unpredictable rhythm Huntington's chorea |
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Prolonged vowels, equal-even rhythm ALS |
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Scanning syllable-by-syllable speech Traumatic brain injury |
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| Due to certain songs causing seizures |
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are a result of: The string vibration The body vibration The air inside vibration |
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| Fundamental frequency of a string vibration |
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depends on: mass stiffness length |
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Vibrates with the guitar string vibration, therefore moving masses of air |
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| Has it's own resonances or preferred frequencies, therefore will change the spectrum of the sound of the guitar and the timbre |
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| The air inside a guitar is tuned to a low A |
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| Has complex resonances that affect the timbre and increase the efficiency of vibration |
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| Transforms vibrations into an electrical signal like a microphone- The Pickup |
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| Takes an electrical signal and translates it into physical vibrations to create sound waves |
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| Amplifies the electrical signal |
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Pitch will change to each The strings of a guitar will vibrate in different modes, corresponding to these |
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Created an instrument that used the musicians hands in a magnetic field to create the electrical wave |
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Distance of hand from one antenna controls amplitude Distance of hand from other antenna controls frequency |
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| Cylinder with one open end and one closed end. |
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| Best tube shapes for instruments because they will resonate at the harmonics of our fundamental frequency |
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Repeating change in pressure |
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Movement will open and close the flow of air which will lead to a vibration that is the source of our sound |
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| Mainly odd harmonics, due to the sylinder shape which gives it its particular sound |
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| Works such as the clarinet, yet cone shaped rather than cylinder |
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1. Air in the mouth at pressure above atmosphere 2. Lips are opened by pressure 3. Air rushes out, lowers pressure in mouth, the high speed air generates suction on the lips 4. Tension and suction between lips pulls them shut 5. Shut lips allows pressure to build up in mouth |
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By changing the tension, the fundamental frequency can be controlled |
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Wind instrument in Australia.Trunk of a Euclayptus tree, honed out by termites with bees wax in one end Does't amplify correct harmonics, plays a single note by buzzing lips Can change the timbre by changing the shape of vocal tract |
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| Music of timbre, mimics animal/natural sounds |
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| Shape of instrument affects the sound that comes out, or the timbre |
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F0- 322 Hz Amplitude- 59 dB |
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| Space between vocal folds |
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| Sound source- vocal cord vibration |
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| Sound filter- above the larynx |
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Lungs, muscles, rib cage, diaphragm, and trachea |
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Build and release subglottal pressure, serves as air pump in speech production Controls the amount of air needed for breathing and speaking |
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| Produced by moving air outward from lungs |
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Produced by an inward flow of air Deviant production in children and languages other than English |
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Periodic puffs of air Results in voiced sounds-vowels |
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| Results in voiiceless sounds, such as whispers |
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| Muscles adduct vocal folds, sub-glottal pressure builds, folds are forced apart. Folds come back and forth together due to the stiffness |
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| Abduction and Adduction of vocal folds |
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| Result in an increase followed by decrease in pressure- 1 cycle of repeating pattern |
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F0- 100 Hz Amplitude- 68 dB |
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| Equal to the frequency of the vocal fold vibration |
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Due to the mass of the vocal folds Men- 100 Hz Women- 200 Hz Children- 300 Hz |
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| Determines pitch of voice |
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Multiples of the fundamental frequency Amplitude decreases as frequency increases |
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| Created by pushing air through tight openings which leads to random changes in pressure- noise |
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| Random changes in pressure |
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| Can be changed by using the mouth (vocal tract) as a resonantor tube, whose shape can be changed |
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| Air Space of the Vocal Tract |
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| Determines the filter characteristics (or transfer function) for speech |
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| Created by rapidly creating constrictions, occlusions, or overall shape changes |
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| Opening between the nasal cavaties and the oral-pharyngeal cavities |
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| Closed Velopharyngeal Port |
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Leads to an oral sound- such as s or b |
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| Allows air into nasal cavity and results in nasal sounds- such as n or m |
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| Approximation of the tract as just tube, the neutral shape |
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| length of the tube for an average male |
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| About 15-30% smaller than the males |
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| 500 Hz, 1500 Hz, and 2500 Hz |
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| Any complex vibration passed through the tube, harmonics near the resonant frequencies will be enhanced relative to harmonics not near the frequencies |
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| Resonances of the vocal tract |
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The resulting sound of the source passing through the filter |
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Sound travels though more quickly, leads to higher frequency resonances (formants) Leads to a change in timbre, not pitch |
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| Fixed shapes, changing lengths |
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| Fixed length, changing shapes |
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| Shapes measured from X-Ray of speakers making vowel sounds, the output is computer from a source passing through the filter |
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| Determines by the shape of the vocal tract at any point in time, therefore are constantly changing |
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Voiced source- vocal fold vibration Shape of tube gives different formant frequencies |
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| May be voiced or unvoiced, there are significant constrictions |
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| Primary imporatance for phonetic identity of vowels and transitions into and out of consonants |
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| The sound code for a particular language, can change the meaning of a word by changing this |
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| bat and cat show that /b/ and /k/ |
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558 consonants 260 vowels 51 diphthongs |
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| The amount of segment in American English |
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About how many different languages there are in the world |
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| Generates fundamental frequency and its harmonics |
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| Peaks in the spectral envelope, determine the distribution of the harmonic amplitudes |
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To ovserve the spectrum over some period of time Frequency x time |
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| Change the timbre of the source |
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Voiced- 60% Unvoiced- 25% Silence- 15% |
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Voiced- 90-95% Unvoiced- 5-10% Duration is longer and the F0 is much higher |
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| Massive temporal expansion of the vowel |
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Rapid, periodic, fluctuation in the F0 The fluctuation is also apparent in all the harmonics |
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| Typical Frequency= 5-7 Hz |
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| Muscle contraction, vocal fold adjustment, then vocal fold tension, fundamental frequency is then adjusted |
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| Cluster of upper formant frequencies whose purpose is to enhance the harmonics amplitudes near 3000 Hz |
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| F0-F3 and for frequencies below 3000 Hz |
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| F3 and above, for frequencies near 3000 Hz |
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| Due to changes in vocal tract not related to the vowel production |
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| Automatic Speech Recognition Systems (ASR) |
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| Programs designed to recognize speech and convert it into machine readable input |
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| Reading the formants from a spectrogram, F0, amplitude, etc. |
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| Is an aspect of speech prosody |
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| Envelope Modulation Spectrum |
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| A representation of the slow amplitude modulations in a signal |
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| Envelope Modulation Spectrum |
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| Used to quantify effects of room acoustics on speech |
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| Envelope Modulation Spectrum |
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Equivalent to the power spectrum of the signal's amplitude envelope which depicts the distribution of energy in the amplitude fluctuations across frequencies |
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| Envelope Modulation spectrum |
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The amplitude envelope is extracted, in which allows us to then calculate the power spectrum This occurs for the entire signal, as well as seven octave bands |
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| This is preserved, but the frequency of occurence changes |
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| Effects of reberberation on intelligibility of speech is predictable on the basis of energy in this region |
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| Preferred temporal window in the auditory cortex |
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