December 1-3 2019
University of Southern Denmark - Campus Sønderborg
Communication is inextricably linked with the generation of voice (in humans and other mammals). Breathing is the basis for this voice generation, and communication rests on a complex pattern of voicing, breathing and non-voicing, i.e. pausing. Therefore, breathing, pausing, and the voice together form the basis for all phonetic and phonological aspects of language.
Advancements in the analysis of interactions and dialogues (both human-human and human-machine), technological developments such as the Respiratory Inductance Plethysmograph (RIP), and the growing interest in social prosody have led to many new insights on how, for example, breathing and speech are coordinated, how systematically and diversely the voice is used in communication and in different speaking styles, how pauses and the perception of (dis)fluent speech are related, and how precisely pauses are prepared, indicated prosodically, and timed with turn-yielding and turn-taking.
The 1st International Seminar on the Foundations of Speech (SEFOS) will be the first event dedicated to the energetic mechanisms, states, and patterns of communication as well as to the multifaceted coloring and communicative functions of the voice. SEFOS aims to bring together researchers from different disciplines, such as phonetics, phonology, psychology, medicine, acoustics, speech technology, and computer linguistics.
Plínio A. Barbosa
Breathing in interaction between humans and between humans, machines and robots
Voice: A multifaceted finely-tuned instrument for any occasion and culture
CALL FOR PAPERS
We invite contributions on all the various aspects of breathing, pausing, and the voice. Reflecting the cross-disciplinary nature of these fields of research, we are particularly pleased about submissions from the entire speech sciences and beyond, i.e., for example, medicine, rhetoric, technology, music, and zoology.
Topics of interest include (but are not limited to):
acoustic and physiological analyses of speech breathing
breathing, pausing, and phonation patterns under different mental, emotional, physical conditions
pathological/clinical aspects of breathing, pausing, and the voice, including pain.
personality traits (including attractiveness), speaking styles, and their links to breathing, pausing, and the voice
breathing, pausing, and/or voice patterns in human-machine-interaction and speech technology in general
interrelations between breathing, pausing, and the voice
interrelations with other features of prosody, such as F0 and intensity
silent, fluent, and disfluent pauses, hesitation phenomena
breathing, pausing and interaction, turn-taking, discourse control
forms and functions of voice quality in communication
singing and its relation to phonation and breathing
new technological or methodological development on the analysis of breathing, pausing, and the voice
recourses and corpora
to be announced!
I will present a high-level walkthrough of findings, well-grounded or impressionistic, concerning the role of breath and breathing in spoken interaction and perhaps touch on some related phenomena that behave in similar ways.. Examples and comparisons come from face-to-face interaction between humans or humans and robots, as well as from human conversations with disembodied talking machines.
Voice actors/actresses can change their voice in amazing ways, to give the impression of the character they are portraying. Non-professionals can too, and we do it all the time, for the most part unconsciously, in every day conversation. This talk addresses the voice as a multifaceted finely-tuned instrument, which we can change at will, depending on the situation. I discuss examples of “voice changes” appropriate and inappropriate for different cultures and social settings; for instance, what is a successful cake seller voice in Japan, and how does this voice sound to Americans or Chinese listeners? Also, what is an appropriate seductive or irritated or polite voice in the U.S., Japan, France, and Brazil? What are some characteristics of negative or positive “voices” in different cultures? I also discuss how we tune our voice instrument: what are some things we do with our anatomical production tools to bring about these voice changes in terms of adjustments at the vocal folds and vocal tract.
This paper aims to contextualize our collective work at SEFOS, through a comparison of language and music, the two main modes of human auditory communication. The common foundation of language and music--at least in their paradigmatic forms as speech and song--is, of course, the voice. A miracle of bioengineering, the human voice is capable of a rapid control of spectral change (enabling phonological structure) while simultaneously producing variations in fundamental frequency, timing, and loudness (enabling prosodic structure). The latter set of elements offer the clearest parallels between language and music--prosody is, in effect, the music of speech--but other parallels exist as well, highlighting the role of not only voice, but ear and mind as well.
I will discuss certain comparable features of language and music in the realms of phonology, prosody, syntax, and discourse, before turning to a deeper consideration of pitch itself. A particularly rich locus common to linguistic pitch and musical pitch is the idiosyncratic vocal form known as “stylized intonation,” an apparent intermixture of spoken and sung vocal production. As I will show, stylized intonation provides a unique linguistic perspective on musical systems, even pointing to the possible vocal/linguistic foundation of an important musical universal--the pentatonic scale. I have developed a novel elicitation paradigm to systematically investigate stylized intonation cross-culturally, which I will introduce along with the 12-language corpus that it has spawned (the “Fa-Fa Corpus”). I will then present preliminary data from this corpus relevant to the universalist hypothesis.
Conference destination Sønderborg
easy to get to - easy to love