Joint pitch-analysis formant-synthesis framework for CS recovery of speech

2012 ◽  
Author(s):  
Srikanth Raj Chetupally ◽  
Thippur V. Sreenivas
Keyword(s):  
Formant Synthesis ◽  
Pitch Analysis

Primary Research on Arabic Visemes, Analysis in Space and Frequency Domain

2011 ◽  
Vol 3 (4) ◽  
pp. 1-19
Author(s):  
Fatma Zohra Chelali ◽  
Amar Djeradi
Keyword(s):  
Standard Deviation ◽  
Frequency Domain ◽  
Current Literature ◽  
Visual Signal ◽  
Primary Research ◽  
Gray Scale ◽  
Male And Female ◽  
The Mean ◽  
Pitch Analysis

Visemes are the unique facial positions required to produce phonemes, which are the smallest phonetic unit distinguished by the speakers of a particular language. Each language has multiple phonemes and visemes, and each viseme can have multiple phonemes. However, current literature on viseme research indicates that the mapping between phonemes and visemes is many-to-one: there are many phonemes which look alike visually, and hence they fall into the same visemic category. To evaluate the performance of the proposed method, the authors collected a large number of speech visual signal of five Algerian speakers male and female at different moments pronouncing 28 Arabic phonemes. For each frame the lip area is manually located with a rectangle of size proportional to 120*160 and centred on the mouth, and converted to gray scale. Finally, the mean and the standard deviation of the values of the pixels of the lip area are computed by using 20 images for each phoneme sequence to classify the visemes. The pitch analysis is investigated to show its variation for each viseme.

scholarly journals Enhancement of esophageal speech using formant synthesis

2002 ◽  
Vol 23 (2) ◽  
pp. 69-76 ◽  
Author(s):  
Kenji Matsui ◽  
Noriyo Hara ◽  
Noriko Kobayashi ◽  
Hajime Hirose
Keyword(s):  
Esophageal Speech ◽  
Formant Synthesis

Effects of Three Common Choral Configurations on Acoustic and Perceptual Measures of a Soprano Section’s Sound

2020 ◽  
pp. 875512332096593
Author(s):  
Tianna Marin Gilliam
Keyword(s):  
Standing Position ◽  
Spectral Energy ◽  
Choral Directors ◽  
The Third ◽  
Audio Recordings ◽  
Pitch Analysis

The purpose of this study was to assess the effects of three choral configurations on a soprano section’s sound. The first configuration resembled a choir section without an assigned standing position, the second configuration grouped singers by timbre, and the third used acoustic-compatibility placement. Three conductors configured a university soprano section ( N = 13) who were audio-recorded singing in each configuration and answered questions about their perceptions. Audio recordings were analyzed acoustically using long-term average spectra and perceptually through pitch analysis and listener perceptions. Results indicated that participants sang with significantly increased spectral energy in the acoustic-compatibility configuration ( p < .001), and both singer and listener participants preferred intentional standing configurations over the random standing configuration. Findings from this study suggest that choral directors can use intentional configurations in conjunction with 2 ft intersinger spacing to improve singer comfort and overall sound.

Effects of Three Common Choral Performance Movement Conditions on Acoustic and Perceptual Measures of Choral Sound

2020 ◽  
Vol 68 (3) ◽  
pp. 286-304
Author(s):  
Melissa L. Grady ◽  
Tianna M. Gilliam
Keyword(s):  
Choral Music ◽  
Music Educators ◽  
Spectral Energy ◽  
Future Research ◽  
Average Spectrum ◽  
Pitch Analysis ◽  
Pitch Deviation ◽  
Performance Conditions ◽  
Full Body

The purpose of this investigation was to examine the effects of three commonly observed choral singer performance conditions (no movement, slight swaying, full-body swaying) on acoustic and perceptual measures of choral sound. We audio recorded an established university choir ( N = 29 singers) performing a memorized piece while viewing the same conductor video and participating in one of the three performance conditions. We analyzed data through long-term average spectrum (LTAS), overall pitch deviation, and singer and listener (singer-listeners, expert-listeners) perceptions. LTAS results showed significant differences ( p < .001) in spectral energy between all three conditions. The full-body swaying condition averaged a noticeable difference of 2.50 dB across the spectrum when compared to the other two conditions. Pitch analysis indicated the least overall pitch deviation during the slight swaying condition (−27.67 cents) and the most pitch deviation during the no-movement condition (−58.31 cents). Results indicated singer and singer-listener preferences for the full-body swaying condition and expert-listener preferences for the slight swaying condition. We discuss results in terms of future research and practical application for choral music educators.

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