• Proceedings of the KSPS conference
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• 2000.07a
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• pp.179-188
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• 2000

• MALSORI
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• no.40
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• pp.29-49
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• 2000

This study has two aim: one is to clarify the restructuring of English in utterance and the other is to make use of text-setting to be applied to getting accustomed to the English rhythm and pronunciation. Clitics prove to play a crucial role on the English restructuring, and are found to be attached to their previous and to their next head or host, thus forming, respectively, an on-cliticized rhythm, trochee and a pro-cliticized rhythm, iambus. En-cliticization proves to be preferred to pro-cliticization in most types of English rhythms. Accordingly, the restructuring turn out to occur all over the levels of the Prosodic Hierarchy. That is, syllables, words and clitic groups are restructured in poetry as well as in song words, which means the necessity of restructuring throughout the levels of the Prosodic Hierarchy from the syllable to the utterance. The present study suggests a good use of a rhythmic textsetting for learners of English to get accustomed to the stress-timed rhythm as well as to such changes in pronunciation as reductions, deletions, resolutions, contractions, and rhythms in English.

• MALSORI
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• no.47
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• pp.15-29
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• 2003

When intonation in French is analysed in terms of a multi-dimentional and hierarchical structure, each of the prosodic units such as accent phrases(having different combinations of the basic tonemes L and H), pre-sentencial and post-sentencial long pauses, intonation phrases(containing boundary intonation), as well as intermediate phrases can be considered being realized on a separate tier. Unlike on the tiers where accent phrases and intonation phrases occur, an intonation rhythm consisting of plateaus is realised on that of intermediate phrases. This intonation rhythm consisting of plateaus is one of the significant factors that lead a basic French metrical rhythm. This paper first shows the types of combinations of the basic tonemes L and H found in French accent phrases. Secondly, this paper examines the roles intermediate phrases and plateaus play in French. Finally, this paper argues that intermediate phrases are the metrical units actually adopted as real utterance units in French.

• Phonetics and Speech Sciences
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• v.15 no.3
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• pp.27-35
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• 2023

This study aimed to investigate the effect of Chinese on the production of Korean rhythm. Korean and Chinese are typologically classified into different rhythmic categories; because of this, the phonological properties of Korean and Chinese are similar and different at the same time. As a result, Chinese can exert both positive and negative influences on the realization of Korean rhythm. To investigate the influence of the rhythm of the native language of L2 learners on their target language, we conducted an acoustic analysis using acoustic metrics like of the speech of 5 Korean native speakers and 10 advanced Chinese Korean learners. The analyzed material is a short paragraph of five sentences containing a variety of syllable structures. The results showed that KS and CS rhythms are similar in %V, VarcoV, and nPVI_S. However, CS, unlike KS, showed characteristics closer to those of a stress-timed language in the values of %V and VarcoV. There was also a significant difference in nPVI_V values. These results demonstrate a negative influence of the native language in the realization of Korean rhythm. This can be attributed to the fact that all vowels in Chinese sentence are not pronounced with the same emphasis due to neutral tone. In this sense, this study allowed us to observe influences of L1 on L2 production of rhythm.

• Speech Sciences
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• v.12 no.1
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• pp.107-119
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• 2005

The current study considers that the distinctive acoustic properties and variations in the closed plateau are realized by four different pitch accents(/Hi*_ H*/ or /Hi*_$h*_f$ for an emphatic phrase and /hi*_ H*/ for a neutral phrase) in an intermediate phrase in the French intonational structure. Thus, an attempt is made to define the acoustic property of the CP in the ip according to the duration time and pitch range, while different combinations of the four pitch accents of the CP are used to explain the way a speaker will highlight. The duration time of the CP was measured at about 0.67 sec. for males and 0.75 sec. for females. The duration properties of the plateau in the CP were found to control the pitch range based on two different prominent pitch accents, which appeared in more than two APs. Therefore, the ip was identified as having a hierarchical level in the French intonational structure, along with the AP and IP. In addition, the CP in the ip was used as a specific location to explain the pragmatic meaning of the rhythm using the two acoustic factors and different combinations of the four pitch accents.

• Speech Sciences
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• v.2
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• pp.95-108
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• 1997

The purpose of this experimental study was to investigate prosodic characteristics of English as spoken by Koreans. Test materials were four English words, a sentence, and a paragraph. Six female Korean speakers and five native English speakers participated in acoustic and perceptual experiments. Pitch and duration of word syllables were measured from signals and spectrograms made by the Signalize 3.04 software program for Power Mac 7200. In the perceptual experiment, accent position, intonation patterns, rhythm patterns and phrasing were evaluated by the five native English speakers. Preliminary results from this limited study show that prosodic characteristics of Koreans include (1) pitch on the first part of a word and sentence is lower than that of English speakers, but the pitch on the last part is the opposite; (2) word prosody is quite similar to that of an English speaker, but sentence prosody is quite different; (3) the weakest point of sentence prosody spoken by Koreans is in the rhythmic pattern.

• Speech Sciences
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• v.14 no.2
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• pp.139-155
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• 2007

Old Korean regulated poems have a typical prosodic structure characterized by a pitch contour. This work applies Jun's finding in Seoul Korean(Jun 1993, 2000, 2005) to old Korean regulated poems, and reports some other significant phonetic characteristics, arguing that old Korean regulated poems have a regular rhythm based on the pitch contour implementing the typically hierarchical prosodic structure. The major prosodic units defined are a foot, a phrase, and a line. Next, this work proposes pitch contour characterizing prominence in a unit, boundary tones, and pauses at the boundary position, as the basic and significant cues of rhythm of a Korean poem. Specifically, some significant characteristics are discussed as follows: first, the tonal pattern of a foot is HL, starting high and ending low; second, the lowering boundary tones of HL% and L% are perceived at the end of a phrase and a line; and finally, a gradient degree of pause is observed at each unit-final position.

• MALSORI
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• no.35_36
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• pp.77-100
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• 1998

This research, based on the support for the existence of 'Clitic Group', proves the 'Clitic Cadence' as the solid evidence to the point that music underlies poetic rhythm in the words or poetic lines which, in turn, underly speech rhythm. Through the relation of stress-beat and clitic cadence to musical schema, such as measure, motive and period, the study clarifes the figurations of cliticization, sometimes procliticized and sometimes encliticized, even if the former appears more often than the latter. Above all, this research puts emphasis on the separate position of clitics not criticized but positioned in strong positions in music, Finally, it suggests some use of clitics to teachers and learners of English for stress-beating for rhythmization of English.

• MALSORI
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• no.39
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• pp.1-14
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• 2000

In Korean, it has been well Down that vowel length plays an important role in differentiating word meanings. But the distinction between long and short vowels is often ignored by young generation. The purpose of this paper is to investigate the change in rhythm patterns. In addition, it is also examined whether this change has resulted in the differences in prosodic features between young and old groups. This study is based on H. B. Lee's 'rhythm pattern theory' Based on his assumption, it is suggested that the loss of original vowel length has caused the place of accent to move from the first to the second syllable.

• MALSORI
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• no.67
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• pp.1-16
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• 2008

Stress effects upon Korean vowels were investigated with reference to rhythm. We measured three acoustic correlates (Duration: VOT, Vowel Duration; F0; Intensity) of stress from the seven pairs of stressed vs. unstressed Korean vowels /i, ${\varepsilon}(e)$, a, o, u, i, e/. The results of the experiment revealed that stress gave only inconsistent and weak effects on duration, which supports that Korean is not a stress-timed language as far as strong stress effects on duration are still considered crucial in stress-timing. On the other hand, Korean stressed vowels were most characterized with higher F0 and next with stronger intensity. But speakers generally showed tactics to reversely use F0 and intensity in stressing an utterance rather than proportionately strengthening both of the two acoustic correlates of stress. There was found great inter-speaker variability especially in the variations of duration.