Mark Tatham and Katherine Morton
- Published in print:
- 2003
- Published Online:
- September 2007
- ISBN:
- 9780199250677
- eISBN:
- 9780191719462
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199250677.003.0008
- Subject:
- Linguistics, Phonetics / Phonology
This chapter emphasizes the notion that human speech is listener-centred; speech is intended to be heard and understood. Adding expressive and emotive content provides the listener with information ...
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This chapter emphasizes the notion that human speech is listener-centred; speech is intended to be heard and understood. Adding expressive and emotive content provides the listener with information about the speaker’s identity (gender, age, education, etc.), the speaker’s attitude and feelings toward the listener, and the nature of what is being said. Adding this to synthesis presents problems, including determining the most useful type of synthesizer, incorporating a proposed prosodic wrapper for speech, linking parameters of emotive content with acoustic parameters, and with underlying theory constructs such as category labels or parameters for driving the synthesizer. The relationship between high- and low-level synthesis, and how to incorporate a range of emotive content and voice quality are discussed.Less
This chapter emphasizes the notion that human speech is listener-centred; speech is intended to be heard and understood. Adding expressive and emotive content provides the listener with information about the speaker’s identity (gender, age, education, etc.), the speaker’s attitude and feelings toward the listener, and the nature of what is being said. Adding this to synthesis presents problems, including determining the most useful type of synthesizer, incorporating a proposed prosodic wrapper for speech, linking parameters of emotive content with acoustic parameters, and with underlying theory constructs such as category labels or parameters for driving the synthesizer. The relationship between high- and low-level synthesis, and how to incorporate a range of emotive content and voice quality are discussed.
