• Speech Sciences
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• v.8 no.2
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• pp.165-180
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• 2001

In this paper prosodic characteristics of French language are analysed with a corpus of radio interview. Intonation patterns are interpreted in terms of raising pattern, focal raising pattern and falling pattern. Accentual prominence is classified in two types, rhythmic accent and focal accent. Focal accent permit to explain the cohesion in a utterance or between two utterances. As a prosodic variable of discourse pauses are described by their form of realization (filled pause, silent pause, hesitation etc), their distribution and their function in utterance.

• Speech Sciences
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• v.6
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• pp.83-101
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• 1999

The aim of this study is to provide a learning method of prosodic rhythm for Taegu North Kyungsang Korean speakers to learn French rhythm more effectively. The rhythmic properties of spoken French and Taegu North Kyungsang Korean dialect are different from each other. Therefore, we try to provide a basic rhythmic model of the two languages by dividing into three parts: syllable, rhythmic unit and accent, and intonation. To do so, we recorded French of Taegu Kyungsang Korean speakers, and then analysed and compared the rhythmic properties of Korean and French by spectrograph. We tried to find rhythmic mistakes in their French pronunciation, and then established a learning model to modify them. After training with the CSL Macro learning model, we observed the output result. However, although learners understand the method we have proposed, an effective method which is possible by repeating practice must be arranged to be actually used in direct verbal communications in a well-developed learning programme. Hence, this study may play an important role at the level of preparation in the setting of an effective rhythmic learning programme.

• Speech Sciences
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• v.9 no.1
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• pp.89-110
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• 2002

Intonation is very difficult to describe and it is furthermore difficult to compare intonation between different languages because of their differences of intonation systems. This paper aims to compare some intonation phenomena between Korean, French and English. In this paper I will refer to ToBI (the Tone and Break Indices) which is a prosodic transcription model proposed originally by Pierrehumbert (1980) as a description tool. In the first part, I will summarize different ToBI systems, namely, K-ToBI (Korean ToBI), F-ToBI (French ToBI) and ToBI itself (English ToBI) in order to compare the differences of three languages within prosody. In the second part, I will analyze some tokens registered by Korean, French and American in different languages to show the difficulties of learning other languages and to find the prosodic cues to pronounce correctly other languages. The point of comparison in this study is the Accentual Phrase (AP) in Korean and in French and the intermediate phrase (ip) in English, which I will call ' subject phrase ' in this study for convenience.

• MALSORI
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• no.31_32
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• pp.207-221
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• 1996

The aim of this research is to study the functioning of the peak variations at the end of the rhythmic groups in spoken french. For this purpose, the text '60 Voix, 60 Exercices', published by Hachette in 1988, was selected. This textbook is based on interviews with 60 persons who briefly speak in a monolog from on a subject of their choice. 500 hundred different groups were selected and submitted to the auditory judgment of six informants, three French natives and three Japanese natives who had studied French for at least three years. It was found, first, that there exists a tendency to a change of either rising or tolling intonation compared with the flat one, and second, that the rising intonation obtains a flirty good score of frequency compared with the two other, ones even if the examined sentences do not pertain to the strict classical types of interrogative or exclamative sentences or dialogs, where affectivity is so often an important factor.

• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.658-667
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• 2021

Our study aimed to analyze and reinterpret, by an acoustic approach, the descriptions of the 18th century prosody and introduce the figurative pronunciation system, which is the International Phonetic Alphabet pioneer. Our methodology compares and analyzes grammars and documents on the transcription system and restructures the prosodic structure. It is certain that the 18th century grammarians widely accepted the prosody theories made by Arnauld & Lancelot of the seventeenth century. In particular, grammar scholars accepted the dichotomous classification of the accent structures as prosodic and oratorical accents. The prosodic accent has a relation to intonation, and the oratorical accent has as its key elements intonation and intensity. Regarding the temporal structure, the lengthening of the final syllable was observed systematically by grammarians of the 18th century. This time structure is similar to that of today. Therefore, we can conclude that the final elongation, an essential characteristic of the modern French accent, has already played an imbued role in 18th century prosody. Despite this, the 18th century grammarians did not assign it the status of accent, as it was a stereotype that matches accent with intonation.

• Phonetics and Speech Sciences
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• v.13 no.2
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• pp.57-66
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• 2021

This study focuses on the issue of automatic severity classification of dysarthric speakers based on speech intelligibility. Speech intelligibility is a complex measure that is affected by the features of multiple speech dimensions. However, most previous studies are restricted to using features from a single speech dimension. To effectively capture the characteristics of the speech disorder, we extracted features of multiple speech dimensions: voice quality, prosody, and pronunciation. Voice quality consists of jitter, shimmer, Harmonic to Noise Ratio (HNR), number of voice breaks, and degree of voice breaks. Prosody includes speech rate (total duration, speech duration, speaking rate, articulation rate), pitch (F0 mean/std/min/max/med/25quartile/75 quartile), and rhythm (%V, deltas, Varcos, rPVIs, nPVIs). Pronunciation contains Percentage of Correct Phonemes (Percentage of Correct Consonants/Vowels/Total phonemes) and degree of vowel distortion (Vowel Space Area, Formant Centralized Ratio, Vowel Articulatory Index, F2-Ratio). Experiments were conducted using various feature combinations. The experimental results indicate that using features from all three speech dimensions gives the best result, with a 80.15 F1-score, compared to using features from just one or two speech dimensions. The result implies voice quality, prosody, and pronunciation features should all be considered in automatic severity classification of dysarthria.

• Sijohaknonchong
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• v.19 no.1
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• pp.85-106
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• 2003

Recently, the sonnet and the shijo, each representing French and Korean formal poetries, are tend to be read with the eyes only, as were more accustomed to written literature. But even after almost three millennia of written literature and increased use of digitalized poems, poetry retains its appeal to the ear as well as to the eye. To read a poem only by eyes might be wrong because it is designed to be read aloud by mouth and understood by ear, and will decrease the aesthetic sense otherwise. It is essential to find the right way to recite a poem in this dramatically changed society, and is especially important when many shijos are changing into digitalized forms to adapt the new wave of our society. The sonnet and the shijo emphasize the importance of the harmony of sounds and rhythms with certain structure, and have their own prosodies. The emotions of the speaker in poems are expressed with words. When they are pronounced. each phoneme has its own phonemic characteristics. When comparing the The Broken Bell(Baudelaire) and Chopoong ga (Jong Seo Kim) in terms of prosody and phonetics. the speakers emotions are closely related with the phonetic structure of each word. In The Broken Bell, the phonetic value of rhymes, repeated phonemes, concentration of front and back vowels. rhythms of onesyllable words shape the overall image of this poem describing the productivity of bells as appose to the sterility of the soul. Chopoong ga also shows the determined and strong will of the speaker by frequent glottalized sounds. distribution and concentration of certain vowels. and frequent use of plosives. As you see in these examples, phones, beats, and rhythms are not the mere transmitter of meaning but possess their expressive values of their own and should be the first to be considered when reciting a poem.