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Intonation Through Emotion: Evidence of Form and Function in American English /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Intonation Through Emotion: Evidence of Form and Function in American English // Daniel Robert Turner.
Author:	Turner, Daniel Robert,
Description:	1 electronic resource (286 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-12, Section: B.
Contained By:	Dissertations Abstracts International86-12B.
Subject:	Linguistics. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=32003062
ISBN:	9798315797623

Intonation Through Emotion: Evidence of Form and Function in American English /
Turner, Daniel Robert,

Intonation Through Emotion: Evidence of Form and Function in American English /Daniel Robert Turner. - 1 electronic resource (286 pages)

Source: Dissertations Abstracts International, Volume: 86-12, Section: B.

Phonologically defined intonational forms are notoriously challenging to identify in context because the surface acoustic form can be highly variable depending on the context, although the sources of variation are not fully understood (Pierrehumbert 1980, Ladd 2008, among others). This problem obstructs a deeper understanding of intonation from the listener's perspective as well, for the perception of intonational contrasts and their interpretations. Strategy. Empirical intonation research typically strives to elicit productions of intonational categories in emotionally sterile contexts to sidestep nonlinguistic variation, but the current study takes the opposite strategy by considering speaker emotion as a case of structured variation. The unique approach tested here was to constrain acoustic variation that may blur tune distinctions by jointly considering sources of variation in phonological specification and emotional portrayal. Importantly, emotion was also formalized through adoption of a recognized analytical framework from psychology (Fontaine et al. 2007). Experiments. The scope of this project included four total experiments, one for production (imitating tunes while portraying emotions; Phase I), one for perception (distinguishing tunes produced in combination with emotional portrayal; Phase II), and two for interpretation (judging the meanings of tunes produced with emotion; Phase III). The research objective of considering multiple methodological perspectives was to thoroughly test the hypothesis that intonational distinctions will be enhanced by eliciting, then controlling for speaker emotion. With a clearer picture of intonational form as it relates to distinctions predicted from the phonological model, a secondary objective was to use emotional variation to better understand how listeners perceive and interpret the linguistic meaning encoded by intonation in conditions of emotional variation. Findings. This project found that effects of emotion on intonation, measured in the F0 trajectories that implement phonologically specified tunes, was observed mainly in production. Listeners seemed to easily account for emotion conditioned variation, both in terms of perceptual distinctiveness and the tune-meaning associations listeners tended to endorse. The phonological specification of intonational tunes was found to be the primary driver of acoustic variation in F0 trajectories, and a strong predictor of whether listeners perceived tunes to convey contrastive meanings. This bolsters a common assumption within linguistics that the expression of linguistic content can be independent of speaker's emotion, to a large extent. Speakers tend to preserve contrasts predicted to be critical for conveying linguistic distinctions per the prevailing Autosegmental-Metrical (AM) model, within specific emotional contexts. This suggests that, despite emotion-conditioned variation in the phonetic realization of intonational contrasts, the linguistic system remains robust. Evidence from the perception and interpretation of tunes builds on these findings to further demonstrate that listeners can cope well with emotional variation in their linguistic evaluations of tunes. That said, fully half of phonologically distinct tunes were often treated as functionally interchangeable, based on findings from the interpretation phase of this study. Comparisons across perception, production, and interpretation show that perceptual discriminability and distinctiveness of tune-meaning associations tend to correlate with F0 trajectory similarity. This research fills a gap between a formal model of Mainstream American English (MAE) intonation, and by extension the AM theory on which it is based, and empirical evidence from a series of four experiments testing perception, production, and interpretation of intonational tunes. The findings broadly support the AM model. By considering how tune-emotion combinations were treated by speakers and listeners, it was concluded that despite acoustic confounds, phonological and emotional factors function separately in the production and perception of intonation.

English

ISBN: 9798315797623Subjects--Topical Terms:

524476
Linguistics.
Subjects--Index Terms:

Autosegmental-metrical model

Intonation Through Emotion: Evidence of Form and Function in American English /
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520 $a Phonologically defined intonational forms are notoriously challenging to identify in context because the surface acoustic form can be highly variable depending on the context, although the sources of variation are not fully understood (Pierrehumbert 1980, Ladd 2008, among others). This problem obstructs a deeper understanding of intonation from the listener's perspective as well, for the perception of intonational contrasts and their interpretations. Strategy. Empirical intonation research typically strives to elicit productions of intonational categories in emotionally sterile contexts to sidestep nonlinguistic variation, but the current study takes the opposite strategy by considering speaker emotion as a case of structured variation. The unique approach tested here was to constrain acoustic variation that may blur tune distinctions by jointly considering sources of variation in phonological specification and emotional portrayal. Importantly, emotion was also formalized through adoption of a recognized analytical framework from psychology (Fontaine et al. 2007). Experiments. The scope of this project included four total experiments, one for production (imitating tunes while portraying emotions; Phase I), one for perception (distinguishing tunes produced in combination with emotional portrayal; Phase II), and two for interpretation (judging the meanings of tunes produced with emotion; Phase III). The research objective of considering multiple methodological perspectives was to thoroughly test the hypothesis that intonational distinctions will be enhanced by eliciting, then controlling for speaker emotion. With a clearer picture of intonational form as it relates to distinctions predicted from the phonological model, a secondary objective was to use emotional variation to better understand how listeners perceive and interpret the linguistic meaning encoded by intonation in conditions of emotional variation. Findings. This project found that effects of emotion on intonation, measured in the F0 trajectories that implement phonologically specified tunes, was observed mainly in production. Listeners seemed to easily account for emotion conditioned variation, both in terms of perceptual distinctiveness and the tune-meaning associations listeners tended to endorse. The phonological specification of intonational tunes was found to be the primary driver of acoustic variation in F0 trajectories, and a strong predictor of whether listeners perceived tunes to convey contrastive meanings. This bolsters a common assumption within linguistics that the expression of linguistic content can be independent of speaker's emotion, to a large extent. Speakers tend to preserve contrasts predicted to be critical for conveying linguistic distinctions per the prevailing Autosegmental-Metrical (AM) model, within specific emotional contexts. This suggests that, despite emotion-conditioned variation in the phonetic realization of intonational contrasts, the linguistic system remains robust. Evidence from the perception and interpretation of tunes builds on these findings to further demonstrate that listeners can cope well with emotional variation in their linguistic evaluations of tunes. That said, fully half of phonologically distinct tunes were often treated as functionally interchangeable, based on findings from the interpretation phase of this study. Comparisons across perception, production, and interpretation show that perceptual discriminability and distinctiveness of tune-meaning associations tend to correlate with F0 trajectory similarity. This research fills a gap between a formal model of Mainstream American English (MAE) intonation, and by extension the AM theory on which it is based, and empirical evidence from a series of four experiments testing perception, production, and interpretation of intonational tunes. The findings broadly support the AM model. By considering how tune-emotion combinations were treated by speakers and listeners, it was concluded that despite acoustic confounds, phonological and emotional factors function separately in the production and perception of intonation.
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653 $a Fundamental frequency
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