
Contents
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3.1 Introduction 3.1 Introduction
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3.2 A history of fundamental pitch perception research 3.2 A history of fundamental pitch perception research
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3.2.1 Basic terminology 3.2.1 Basic terminology
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3.2.2 Theories of pitch perception 3.2.2 Theories of pitch perception
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3.2.3 Critical bands and their importance for pitch perception theories 3.2.3 Critical bands and their importance for pitch perception theories
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3.2.4 Which components are important? 3.2.4 Which components are important?
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3.3 Pitch perception in speech 3.3 Pitch perception in speech
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3.3.1 Just noticeable differences and limitations in the perception of f0 3.3.1 Just noticeable differences and limitations in the perception of f0
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3.3.2 Segmental influences on the perception of f0 3.3.2 Segmental influences on the perception of f0
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3.3.3 Perceptual interplay between prosodic parameters 3.3.3 Perceptual interplay between prosodic parameters
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3.4 Conclusion 3.4 Conclusion
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3 Fundamental Aspects in the Perception of f0
Get accessOliver Niebuhr earned his doctorate (with distinction) in phonetics and digital speech processing from Kiel University and subsequently worked as a postdoctoral researcher at linguistic and psychological institutes in Aix-en-Provence and York as part of the interdisciplinary European Marie Curie Research Training Network ‘Sound to Sense’. In 2009, he was appointed Junior Professor of Spoken Language Analysis and returned to Kiel University, where he is Associate Professor of Communication and Innovation at the University of Southern Denmark. In 2017, he was appointed head of the CIE Acoustics Lab and founded the speech-technology startup AllGoodSpeakers ApS.
Henning Reetz holds an MSc in computer science and received his PhD from the University of Amsterdam in 1996. He worked at the Max Planck Institute for Psycholinguistics in Nijmegen and taught phonetics at the University of Konstanz. Currently, he is Professor of Phonetics and Phonology at the University of Frankfurt. His main research is on human and machine speech recognition with a focus on the mental representation of speech. Part of this work includes the processing of audio signals in the early neural pathway, where pitch perception plays a major role.
Jonathan Barnes is an Associate Professor in the Boston University Department of Linguistics. He received his PhD from the University of California, Berkeley, in 2002, and specializes in the interface between phonetics and phonology, most particularly as this concerns the structures of tone and intonation systems. Much of his recent work involves dynamic interactions in perception between ostensibly distinct aspects of the acoustic signal, and the consequences of these interactions for our understanding of the content of phonological representations.
Alan C. L. Yu is Professor of Linguistics and Director of the Phonology Laboratory at the University of Chicago. His research primarily addresses issues of individual variation in the study of language variation and change, particularly in how it informs the origins and actuation of sound change. He is the author of A Natural History of Infixation (Oxford University Press, 2007) and a (co-)editor of the Handbook of Phonological Theory (2nd edition, Blackwell Wiley, 2011) and the Origins of Sound Change: Approaches to Phonologization (Oxford University Press, 2013).
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Published:10 February 2021
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Abstract
This chapter outlines basic characteristics and principles in the perception of f0 and its interplay with other prosodic and segmental elements of speech. It focuses on those theoretical and empirical contributions that are essential for readers to know in order to conduct, interpret, and assess research on prosody and intonation. Thus, it starts with the psychophysical and psychoacoustic aspects of f0 and pitch, and continues with how perceived pitch patterns are constructed from f0 patterns in speech, also taking into account just noticeable differences. Stressing the various influences of sound segments in this construction process, critical concepts touched upon are intrinsic pitch, the missing fundamental, ‘segmental intonation’, and the theory of optimal tonal perception. Finally, an overview addresses the interplay between f0 and other aspects of prosody. This includes how f0 influences perceived duration and how f0, or rather perceived pitch, is in turn influenced by the acoustic energy level. Whenever useful, the chapter provides practical advice on how to measure and analyse f0 and pitch contours in speech.
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